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Re: Question about 2.19 and \partial

From: Abraham Lee
Subject: Re: Question about 2.19 and \partial
Date: Fri, 3 Jul 2015 01:35:45 -0600

Here's a thread from someone else asking a similar question. Perhaps it will work for you, too!

This takes advantage of the fact that cadenzas in LilyPond do not increment the bar number.


On Thu, Jul 2, 2015 at 6:27 PM, Steven Weber <address@hidden> wrote:

As an example, from the 4th movement of Bach’s Brandenburg Concerto No. 1.


All I want to know is what to expect (in this case, all my \barNumberCheck values were off because the partial bar had its own bar number and I assumed it wouldn’t).




From: lilypond-user-bounces+panteck=address@hidden [mailto:lilypond-user-bounces+panteck=address@hidden] On Behalf Of tisimst
Sent: Thursday, July 2, 2015 4:01 PM
To: address@hidden
Subject: Re: Question about 2.19 and \partial




What is the purpose of your \partial in the middle of the score? Are there any repeat sections around it? Is it used to transition between keys (or similar)? Do you have a picture to show what you want?





On Thu, Jul 2, 2015 at 4:50 PM, Steven Weber [via Lilypond] <[hidden email]> wrote:

Hey everyone!


I’ve got a question about typesetting partials in the middle of a piece and what their bar number should be.


If you have a partial at the beginning of a piece, the bar number is (essentially) 0 – it doesn’t count as far as bar numbers go.  Because of that, I assumed that partials in the middle of the piece would be the same – they either have the bar number of the previous bar, or the bar number of the next bar.  However, it appears that partial bars get their own bar number:


\partial 4 r4 % Bar 0


R1 % Bar 10

\time 3/4

\partial 4 r4 % Bar 11

R2. % Bar 12


Is this expected typesetting behavior?






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