Re: Full bar rest printed incorrectly after time signature change

[Pierre Perol-Schneider]

You're welcome Ole !
PS. Don't forget to unset the Timing in order to avoid any surprises, eg.:

\new PianoStaff <<
  \new Staff \relative {
    \time 3/4
    s4*6
    << { g'8([ fis] e' d c b) } \\ { s8 \once\hideNotes fis8~ 2 } >>
    \set Timing.measureLength = #(ly:make-moment 2/4)
    << { a4( gis) } \\ { b,2 } >>
    \unset Timing.measureLength
    \bar "||"
    \tempo "Presto di molto"
    \time 2/4
    R2
  }
  \new Staff {
    \clef F
    s4*6 d2 dis4^\p c2 r4 r8 e16 gis^\f
  }
>>

Cheers,
Pierre

Le ven. 28 oct. 2022 à 17:47, Ole V. Villumsen <ole.villumsen@protonmail.ch>
a écrit :

> Hi Pierre,
> Thank you, merci beaucoup! For my situation that is extremely helpful. The
> documentation link too. I much prefer your solution over the ones by Paul,
> Mark and Kevin pretending that the incomplete 3/4 measure is an upbeat,
> which it isn’t. The way I read the documentation, in theory there might be
> situations where telling Lilypond that 3/4 is 2/4 would give improper
> beaming, but certainly not in my case, and in other cases this can be
> easily corrected by hand.
>
> A happy weekend to all,
> Best regards, Ole
>
> Sent with Proton Mail secure email.
>
> ------- Original Message -------
> On Friday, October 28th, 2022 at 17:29, Kevin Barry <barrykp@gmail.com>
> wrote:
>
>
> > On Fri, Oct 28, 2022 at 03:15:48PM +0000, Ole V. Villumsen wrote:
> >
> > > > If you use \partial at the beginning of a score it treats the
> resulting
> > > > duration as the length of music preceding the first bar. This is how
> bar
> > > > numbering generally works for upbeats/anacrusis.
> > >
> > > Obviously confirmed.
> >
> >
> > I mean that it is documented behaviour. The NR says "When \partial is
> > used at the beginning of a score, duration is the length of the music
> > preceding the first bar."
> >
> > > I admit that I wondered more than a bit about the requirement in the
> > > Notation Reference to insert a \partial "when the time signature
> > > changes in mid measure". Composers do not always want an
> > > upbeat/fractional pick-up there. Maybe supplying a zero duration is a
> > > hack; but what is the alternative? At least NR doesn’t give one.
> >
> >
> > It used to be the case that you had to use a different (more
> > complicated) syntax to do that, but since the functionality was quite
> > similar to partial, partial was updated to work when used at times other
> > than the beginning of a piece.
> >
> > > > All of the examples of \partial in the documentation use it at the
> > > > beginning of a bar and supply the duration. If you do the same it
> should
> > > > work for you.
> > >
> > > I didn’t see any examples of a zero partial in the docs either. I have
> > > trouble making good sense of your last statement, though, sorry. What
> > > are you suggesting to do when the composer did not intend nor supply
> > > an upbeat? (My example is from C.Ph.E. Bach (1714 - 88): Fantasia C
> > > major H.291, bars 71 - 72.)
> >
> >
> > Partial only inserts an upbeat when used at the beginning of a score. To
> > quote the NR: "When \partial is used after the beginning of a score,
> > duration is the remaining length of the current measure. It does not
> > create a new numbered bar."
> >
> > You should imitate the examples in the NR: put \partial 2 at the
> > beginning of the shortened measure. Something like this (based on the
> > image you attached):
> >
> > \relative {
> > \time 3/4
> > g'8( fis e' d c b)
> > \partial 2
> > a4( gis)
> > \bar "||"
> > \tempo "Presto di molto"
> > \time 2/4
> > R2
> > }
> >
> > Kevin
>