Brecht's primitive notation used no time signature or bar lines, as the rhythm was to follow that of the words, which were not to be distorted when sung.
Three other movements proceed straight into what follows with just a single bar line and (where necessary) a change of key signature or time signature.
At a more detailed level, particular generic aspects of playing are discussed, such as getting away from the tyranny of the bar line.
Finally, the double bar line is used to indicate a break in the music.
Furthermore, all of the dissonances respect the boundary of the bar line.
The bar line system was accordingly designed to avoid the frequency bands associated with visually-induced epilepsy.
Their record of immigration, above the colour bar line, has been wide and varied.
The last bar of this movement is fragmentary, and does not have a bar line, nor a fermata to indicate the end of the movement.
