On Sun, 2016-12-04 at 15:40 +0000, Phil Holmes wrote: > ----- Original Message ----- > From: "Simon Albrecht" <simon.albre...@mail.de> > To: <da...@aeolia.co.uk>; <lilypond-user@gnu.org> > Sent: Sunday, December 04, 2016 3:23 PM > Subject: Re: Changing the form of a whole-bar rest > > > > > > On 04.12.2016 15:16, David Sumbler wrote: > > > > > > I want the "normal" whole-bar rest to appear instead, i.e. a > > > semibreve > > > rest. > > Why would you want that? > > > > Best, Simon > > Seems to make a good deal of sense to me. We use full measure rests > when > the bar length is 1/4, 2/4, 3/4, 3/8, 4/4, 6/4, 2/2, 3/2, etc., > etc. Why > should 4/2 be different? > > I would also remark that personally, I think WMRs are the work of the > devil. > In music where the time signature changes frequently (e.g. the > Durufle > Requiem) having to keep looking for the most recent time sig change > to count > the rests before you come in is a complete pain. Don't know who > started it > as an idea, but I think they should be shot. Just my 2p. > > -- > Phil Holmes
Having spent over half a century playing in orchestras, I confess I have never questioned the use of semebreve rests as whole bar rests. But I take Phil's point. Now that you have made the point, the convention does seem illogical and in no way helpful - except that in a full score it makes it more obvious which voices/instruments are playing and which are not. Simon asks why I want a semibreve rest in a bar which has the length of a breve. Basically, for consistency. The short piece I am setting is for flute and baritone voice. The nature of the rhythms are such that I wrote it (37 years ago!) without time signatures, which would just clutter things up; the actual number and length of beats mostly varies in each bar. However, the groupings are clear from the notation, and as there are only 2 lines of music to follow, I still think that the decision to omit the time signatures was a good one. There is just one bar which is as long as a semibreve, and using a different rest in the voice part at that point would simply distract the singer for no reason. It certainly looks better with a semibreve rest. As it happens, the bar is a bar of 4/2, but it could just as easily have been (3+4+5+4)/8 or something; what would be the point of using a different rest mark just for this one bar? Actually, setting this piece has been very useful for me, because there have been a number of challenges - "how do I do such-and-such?" I have managed to solve most of the problems myself, but correcting (or the opposite, if that is your opinion) this rest stumped me. I have another problem which I haven't managed to solve yet - I might be back tomorrow with another question! David _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
