> Here is a few more problems I ran into last night:
>
> 1) When I am mixing slurs, hairpins (\< \!), and barchecks, sometimes I
> would get a parse error in which case it seems perfectly legit. For
> example, "s2 s2 ( \< \! |". The error would occur at the bar check. It's
> OK then if I remove it.
If you read carefully about the input syntax, you'll discover that
the \! should be put before the note where you want the hairpin to
end, i.e. after the bar line, such as "c2 c ( \< | \! ) c ".
The same holds for slur endings, ")".
> 2) When I move the slurs from the notes to another staff full of invisible
> rests (e.g. "a4 () b" in one staff to "s4 () s") where the two staves are to
> be stacked together, I would get a message that says something like
> "Warning: Unbounded spanning: Slurs".
The problem is that Lilypond can't tell at which pitch the slur should
start and end. You could have several parallell or crossing slurs if
you have several voices in the same staff. I think it makes sence that
you have to specify exactly which voice you mean.
> 3) I get lots of warning messages concerning constraints, like:
> "Active_...(): degenerate constants"
> "...: Too much degeneracy"
> "solution doesn't satisfy constraints"
>
> Does it have to do with space calculation?
Short answer: yes. Ask Han-Wen for the details.
> 4) Do you think it is helpful to the end user if an intermediate .tex file
> is saved? I know the internals look ugly, but it may help in some cases.
Check out the flags -K and -k to ly2dvi.
> 5) Suggestion: What about split points in a bar? You know how lengthy a
> cadenza could be. Sometimes it is necessary to cut a bar into two to fit
> the cadenza nicely into a system. Another occasion would be choral music.
> Lyrics take up a lot of space. There are times where fitting a particular
> measure would be too crowded, and taking it away would make the notes in the
> system too far apart. A nice solution would be to break it into two.
> Perhaps a user can suggest some split points in a bar?
Try \bar ""; or look at the property barAlways. It's described in the
reference manual.
> 6) Suggestion: Lines. Solid, dotted, or dashed. End points could be notes
> or lyrics. E.g. directing a part to switch the text from one line to
> another (just an reminder to the singers).
Good idea! Maybe we could use the same construct with waved lines
for arpeggiated chords?
> 8) Suggestion: Tempo and expression marking, like "Andante (<quarter note> =
> 55)". Can appear above a system anywhere in the score.
It has been in the TODO file for a long time.
/Mats
