Hi everybody,
I have a question that may be difficult to express in general terms at
first, so I'm going to start with a minimalistic example:
\time 3/4
% Bar #1
\repeat volta 4 { c4 e g }
% Bar #2
\PhraseTwo
As it is, PhraseTwo starts at bar 2 because it follows bar 1. Fair enough.
But when listening to that song, one would count 4 bars before it because of
the volta brackets — the musician plays 4 bars and then proceeds to perform
PhraseTwo. So PhraseTwo is the 5th bar played, even though it's the 2nd bar
written. Naturally this happens again every time there is another folded
repetition or jump.
So what if one wants to number bars according to the performance (PhraseTwo
at bar #5) rather than where it stands on the printed score (bar #2)? Is
there an automatic way to count all repeats (volta, DS etc.) as though they
were *\repeat unfold* (short of actually using this kind of repeat) in order
to change /all/ bar numbers accordingly in the entire score?
Furthermore, is there a way to print /both/ numbers at every new line and
whenever a repeat ends? Perhaps print a number 5 inside parenthesis after
the number 2 floating over the volta bracket?
End of question here. Sorry the post got long — feel free to skip everything
from here on. And thank you in advance! :)
What I've found out so far:
For a one-time workaround, I could just tweak the number manually with *\set
Score.currentBarNumber* and print it with *\once \override
Score.BarNumber.break-visibility = ##(#t #t #t) \bar ""*
It's just a matter of putting the code above right after the line with the
repeat, forcing bar #2 to become #5 and force-printing in case it's not the
first bar in a new line. But doing that has a few drawbacks:
1. It's kind of a hassle.
2. I might forget to do it at some point, as I already have, so the bars are
all wrong from that point on.
3. If I ever need to change something — and this is a broad thing, like
folding/unfolding a repeat, inserting/removing music, changing a \partial
anacrusis into a pickup bar that begins with a rest or vice-versa — then
we're back to square one.
The rationale as to why the weird bar numbers in case you want some
background and/or have a better idea:
I'm part of a /taiko//percussion group that plays pieces composed for
several instruments which always have repeats at different places and even
of different lengths. The full score rarely gets to be written with volta
brackets, segni or simile marks. But when writing the single-part scores —
which we need, there's no way around that — it's the other way around:
unfolding the repeats makes the score harder to read due to massively
lengthy repetitions of the tiniest bits like { c8. a16 } or { c8 a } or {
c16 a c a } or { c8 c16 a }, etc. We call them '/jiuchi/', or base rhythms.
They're accompaniments for the '/ouchi/', or main rhythms. Single-part
scores will often waste many pages on this stuff and become hard to use in
rehearsal.
(Please note I'm using c and a as a means to convey percussion rather than
melody — we have a rule of thumb for note placement on the staff. Yes, I'm
aware of *DrumStaff* and *RhythmicStaff*; no, they don't work out well for
the kind of notation we need to make with the sets of rules we need to
follow as a /taiko/ group. I've already taken care of the necessary
customizations on the regular *Staff*.)
"Let's play from bar #154. For you it's bar #86 since you have that volta
bracket on your staff; and for you guys back there it should be around
#115-125 because of that DS on yours. I don't know the exact number; do the
math or go check the full score. Should be around page 18, maybe 19. Go on,
we'll all stand here just waiting."
vs.
"Let's play from bar #154."
--
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