Mats Bengtsson wrote:
This is another incarnation of Issue 355, which in my opinion is a clear
bug.
However, I'm not equally certain that the bar numbering always is done
the way Paul proposes
and would have to look through my collection of scores to see what is
the most common typesetting
practice.
Does anybody have authoritative information on how the bar numbering
should be done with alternative
endings?
/Mats
Well, it's certainly not authoritative, but since I admire the engraving
practice in the Bärenreiter Urtext editions...
In several piano reductions, they use running measure numbers along the
repeats, and depict both numbers, repeats in parentheses, like this:
(18)
--------|:-------|--------|--------|--------|
6 (22)
--------|--------|--------|--------|--------|--------|
12 (28) {1. }
--------|--------|--------|--------|--------|-------:|
33
{2. }
--------|--------|--------|--------|--------|--------|
39
--------|--------|--------|--------|--------|--------|
I think it's particularly useful to denote the measure number of the
first repeated measure, even if it's in the middle of a line.
Note that the volta bars are counted, too.
This way, each point in time is uniquely identified, which should please
both the programmer's and the conductor's view.
Of course, things get ugly if there is a part repeated more than once; I
haven't spotted such a thing in my Bach scores from Bärenreiter. By the
way, if the whole piece gets repeated, they don't print bar numbers for
each stanza.
Also, one could argue to use the same numbering scheme for D.C., D.S. or
Coda constructions - at least for D.C. and D.S. without jumps in the
end, they don't do that. I don't have an example with a Coda.
On the other hand, more complicated constructions with >= 3 repeats
typically appear in more modern popular music, where AFAIK everybody
tends to use the stanza numbers in the rehearsals.
Just my two pence...
Alexander
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