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 <barr...@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
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