Dear Mats, thanks, this is perfect. One time more amazed with the doc. I would not have searched this in the doc.
The point is the common rythm of spanish Señor ten piedad (Kyrie) Cristo ten piedad etc Señor needs (better said: is generally solved with) an upbeat and is repeated, Cristo needs a downbeat and is repeated, then again Señor etc Generally the composers write the repeats, but in this case I have to write it with \repeat volta 2 Anyway this is solved, Franck 2015-01-26 7:11 GMT-05:00, Mats Bengtsson <mats.bengts...@ee.kth.se>: > > Ali Cuota <alicuota618 <at> gmail.com> writes: > >> >> Hello, >> >> I want to see exactly what shows this minimal example, except that the >> "space" is not desired. >> This is from an hymn melody and I do the SATB setting. So I would like >> to have the original "optic". And with so short repeats, it doesnt >> make sense to enlarge the alternative. >> Now, without the s8, the half-note of alternative 2. begins in the >> remaining half-beat and so the rest of the song. >> Thats why. > > As has already been pointed out, the notation in your example doesn't > really > make sense, rhythmically. In particular, the second alternative would > provide the second half of the bar starting before the first alternative, > so > the bar lines after the second repeat seem half a bar off, to me. Anyway, > if > you just want to avoid the space provided by s8, you could read about > scaling durations at > http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations. > The resulting example would then be > \relative c' { > \partial 8 > \repeat volta 2 { d8 d4 d8 d } > \alternative { { d4.*4/3 } { d2 } } > d8 d8 d8 d8 d2 > } > > /Mats > > >> Thanks in advance >> >> Franck >> >> 2015-01-26 1:58 GMT-05:00, Brian Barker <b.m.barker <at> btinternet.com>: >> > At 19:54 25/01/2015 -0500, you wrote: >> >>I wonder how to codify correctly this minimal example: >> > >> > That depends on what you want to see! >> > >> >>the s8 is here to fullfill the bar, but take some space and should not. >> > >> > o Why do you think you need this? If you want to go back to the >> > starting quaver upbeat, it's important that the first-time bar is >> > *not* complete. But that would mean that the repeat bar-line comes at >> > a point within a bar, not at the end. The second-time part would have >> > to start with a partial bar of only a quaver length. >> > >> > o Your first-time bar (as marked) is half a bar. Is this ever >> > permissible? None of Elaine Gould's examples show this. >> > >> > o With the first-time bar being only the second half of a bar, the >> > minim at the start of the second-time version completes the bar and >> > should be followed by a bar line. Then the four barred quavers and >> > the final minim should be a contiguous bar - with no intervening >> > bar-line. Is that what you mean? >> > >> >>Is there a better way? >> > >> > Yes - but that depends on exactly what you mean. I started to try to >> > correct this, but that's not possible without knowing how you think >> > it should actually expand. >> > >> > Brian Barker - privately >> > >> > >> > > > > > > _______________________________________________ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user > _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
