34

Yes, one possible way is to clarify a "5+3" meter throughout. Depending on the music, this could be preferable to just writing 8/4 if the meter is clearly a 5+3 layout. As one example of how this could be done, consider something like: Notice that, in the second full measure, a dotted barline shows the distinction between the 5/4 and 3/4 portions of the ...


25

On single-stem pitches, the rule is always the same: the staccato goes on the side of the notehead that is opposite the stem. But when multiple voices are in play, the convention is typically to put the staccato pitch at the end of the stem, even if there's enough space to place it by the notehead. This means that, in multiple voices, the up-stem pitch will ...


21

I've always understood that the lower pitch of the harmonic second occurs on the left side: This is also true when additional pitches are added in. On beat four, the E is now on the right because the first second encountered is D–E (and no longer E–F). When you're writing separate voices, however, you write the higher pitch first, with the lower voice ...


15

One way which is possible is to show two time signatures, as here from Tchaikovsky's second String Quartet via Popflock: This warns the user that bars of each length are to be expected. You haven't tagged the question MuseScore, but MuseScore does allow bars of varying length without having to put a time signature in every time. Right-click the bar, select ...


13

As a possible alterative to Richard's answer, you can write the total in the time signature and the division above the staff like this: This may be easier, depending on the capabilities of your notation software. However, it does imply that the divisions are the fundamental beats. In this case that is four beats to the bar, with beats 1, 2, and 4 being ...


13

The notes in the upper staff are tuplets. As an aid towards your eventual goal, here is some sample code to create what you're looking for: \version "2.19.82" musicA = \relative c' { \key cis \minor \time 2/2 \omit TupletNumber \override TupletBracket.bracket-visibility = ##f \tuplet 3/2 4 { gis8_\markup { \italic { sempre \dynamic pp e senza ...


11

The go-to reference for notation is Elaine Gould's Behind Bars: The Definitive Guide to Music Notation. It's a massive book that, in addition to the standard tonal notation rules, includes examples of advanced post-tonal notation as well. Other resources are listed in References for typesetting music, but the Gould is certainly the industry standard. ...


10

I've stumbled up on the answer to my own question. Either of the following should work: \set restNumberThreshold = #1000 % Some large number \override MultiMeasureRestNumber #'stencil = ##f The first is a bit hackish and not very robust (it sets the number of rests required to display the number extremely high), but the second may have unintended ...


9

This is common notation in keyboard music, although we don't call them "double stops"; it's just harmony. When notating something like this, you write the music out as different voices, with the caveat that up-stem and down-stem notes help clarify which voice is which. Consider the following example: the up-stem pitches are one voice and the down-stem half ...


8

The notes on the treble clef are triplets. That's all.


7

Composers may use a dashed/dotted/broken slur or phrase mark when it's optional (for example, when lyrics are irregular, as user25358 attests). It may also be used to indicate a hemiola, for example where a 3/4 bar should be treated as 6/8. That could be the case in bars 2-3 of your excerpt. Editors may use a dashed/dotted/broken slur to indicate editorial ...


7

Leaving out the number is an approach I have never seen in classical orchestral scores. Typically the last tutti note has a fermata, followed by a one-bar rest also having a fermata above the text "Cadenza". Of course, this leaves open, when to start again, which is the reason, why classical cadenzas end with a trill to be easily recognized. In smaller ...


7

The problem with 6/4 is that it implies a metric grouping in the bass and drums of 3+3 or 6 on its own. I notice that you are defining your tempo as q.=160 when you do this, however. That part is actually correct, and you should make your metric decision based on how you hear the tempo. The 160 bpm that you are hearing are occurring four to the bar. You can ...


7

Yes, whole and half rests should always be pointing into the third space on the staff. As Dr Mayhem notes, it's standardized for ease of reading. They don't mean anything different if you place them elsewhere, but there's no point in moving them elsewhere unless you want to confuse people :P. Your experienced acquaintance should recognize that it takes no ...


7

Remember that full-measure rests in LilyPond are input with a capital R. Thus every instance where you have r2. (or r2.*8, etc.), you should instead have R2. (or R2.*8, etc.). Making this change in all voices corrects the problem. In the example you gave, it's present in the final lines of both the treble and bass and it's present in two lines each for the ...


7

Composers of the past few centuries have settled on a compromise: they tended to use staff paper with five-line staves already written in, like so: They then wrote in everything else with pencil: key signatures, time signatures, accidentals, pitches, etc. This way, any erasing they did preserved the staff lines. Although, in my experience with manuscript ...


6

In newer versions of LilyPond \override MultiMeasureRestNumber #'stencil = ##f can be expressed as \override MultiMeasureRestNumber.stencil = ##f or even shorter as \omit MultiMeasureRestNumber All of that does exactly the same. It's just syntactic sugar.


6

The rests belong on specific lines to conform to the standards that most sight-readers would expect, but to expand on the case of different voices on a staff... If you are asking one of the two parts on a staff to drop out for a few measures (rather than to be in unison with the other part), it's normal to indicate this by having whole bar rests either ...


6

Most of the mixed-meter scores I've seen use non-dotted measure lines as well (and no "+" sign between the paired meter notations.) . It's just treated as "we will always be switching meter every bar" . See for example West Side Story "America" where it goes into 6/8-3/4 swap time.


5

Beyond that, even a solid slur curve does not always indicate notes should be slurred. The same notation is often used to indicate phrasing, in which case there will be shorter curves over a subset of the notes indicating a true slur. -- Or if all notes are to be articulated, there'll be dots or bars over the notes to specify the articulation. I have to ...


5

The problem is that this is not a common notation, and the meaning of the symbol "C/Em" is unclear. What Lilypond can do - as you know - is add a letter after a slash, e.g. C/E, which means that you're supposed to play a C major triad with the note E in the bass. What does exist are polychords where two different chords are stacked on top of each other. ...


5

So, here we have a clef change. The line before the line in question has the bottom staff in the bass clef, and in our first line here, the music begins with the treble clef. This change of clefs happens of on the first bar of the new line. So, why do we write a bass clef, only, only to have it immediately change to a treble clef? Why not just start the next ...


5

The convention in these cases is to put the staccato dot above/below the stem of the note in question. I admit that it looks a little strange to have the dot so far away from the notehead, but that's how I've seen it done.


5

There is, thankfully! This answer assumes MuseScore 2 or higher. (It may also work on MuseScore 1, but I can't verify that.) Find the group of pitches where you want to add the optional lower octave. Select the entire group of pitches by clicking on the first pitch and Shift+Click-ing on the final pitch; the group of pitches should now be boxed in blue. ...


4

This is certainly possible in LilyPond. As I see it, there are two aspects that go into creating a condensed score. The most obvious is the general formatting: staff size, paper size, etc. Such modifications are laid out in the LilyPond Notation Manual. The second aspect would be to rid of all of the unnecessary empty staves. In LilyPond, this is very easy:...


4

Try song = { \repeat volta 2 { a1 } \alternative { { a } { b } } \bar "|." } harmonies = \chordmode { a1 b c } \score { << \new Staff = "melody" \with { \accepts ChordNames } << \new ChordNames { \set chordChanges = ##t \set noChordSymbol = ##f \override ChordName.outside-staff-...


4

As Kilan points out, absolute numbers are not used for good reason - no ensemble will exactly match the requirements. I see two possible solutions, since what you attempt is a sort of dynamic balancing: You divide into three groups and give two of them the identical first voice. You keep the two groups and adjust the dynamic specifications, so the second is ...


3

1) The time signature is 4/4. 2) The tempo seems to be 160. 3) I would say that in my opinion the notes are sixteenth triplets.


3

Music Notation by Read and Behind Bars are the only decent ones I could find. But for a TRUE spec, probably your best bet is the source code to LilyPond. Because it just isn't written down concisely anywhere else. You're almost forced to learn it by osmosis. Or just don't bother and buy Finale or one of the other notation programs available. Music ...


Only top voted, non community-wiki answers of a minimum length are eligible