> 5.) Is there any good "tutorial" about proper use of "D.S. al Fine"
> and weird usages of those Segno signs? I've seen some, but wouldn't
> mind seeing some nice reference just to make sure that I properly
> understand the correct usage in all weird cases.
I'm not sure what a weird usage of D.S. would be.
What do you have in mind?
In terms of complexity, I've seen pieces that have more than one D.S.
and/or coda, in which case you double up the symbol (D.S.S.)
This link covers the standard usages:
I'm not sure that "weird" usages would be covered in any tutorial. Maybe
in a more comprehensive reference? Does Gould have anything to say about
I've also started using the \barline "S" rather than the traditional segno
sign. In rehearsals, this has led to a new saying, "squiggle is the new
D.S.", which is quaint if somewhat inaccurate (squiggle is the new segno).
I find the "S" barline easier to see visually on the page, and easier to
deal with within lilypond since it is part of the musical flow and doesn't
compete for space above the staff.
Especially if you are using the traditional segno symbol as marks, and also
for using the coda symbol, then you will run into issue around line breaks
and multiple rehearsal marks. In those situations, this snippet helps:
I have consolidated my working notes for long repeats at
One final opinion about repeats: if the roadmap gets too complicated, it
will be difficult for musicians to read it. Unless you have serious space
constraints (reading from marching band lyres), it saves rehearsal time and
everyone's brainpower to simply write out things that are similar but not
identical, rather than trying to save ink and make things dense with
quasi-repeats and lots of annotations.
David Elaine Alt
415 . 341 .4954 "*Confusion is
Producer ~ Composer ~ Instrumentalist
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