A slur is almost the same thing as a tie. Sometimes
it has been used to indicate multiple ties :-(. Please
never have slurs at stem ends, just as you would never
have ties at stem ends.
If you think that slurs to stem ends are a good idea,
(they aren't) then use phrase marks instead.
In a chord the notes are slurred or not slurred individually,
but a chord can be part of a phrase. Therefore:
***You have already chosen to make the distinction between phrase
marks and slurs by allowing slurred or tied notes on the same stem
with notes not tied or slurred.***
You must follow through. Ignoring the situation will be
catastrophic.
If you decide instead not to allow slurred or tied notes
on the same stem with others or each other (It has not always
been done) you must somehow draw five *or more* parts on one
staff. This involves stems crossing beams. A lot.
I didn't think so.
In the Carcassi book a slur made by sliding is indicated
by a sign combining a straight line and a curved line.
This appears to have been standard practice at least
since 1825. The total impossibility of continuing it
is very well illustrated in the 12th etude of Heitor
Villa Lobos (Publ. Schott). The only rational option is
to use a single straight line for this kind of slur and
:-( forget the curved line.
*---------------*
If it is heavy and wavy, of course it is a
glissando.
*~~~~~~~~~~~~~~~~~*
Obviously, it can't ever go to a
stem end.
Sometimes a straight line between finger numbers
rather than notes, or a tie of dashes between
noteheads has been used to indicate retention of
fingering, not sound. Usually, a better way is to
hyphenate one or both of the finger indications.
1- -1
or
2 -2
instead of
3------------------3 :-(
but the *curved* tie of dashes between noteheads is
good for beginners. I would think it a very easy
feature to add. (I apologize if you have it already.)
Dots have been used much less
often, presumably because there are so many dots
in music already.
*- - - - - - - - - -*
When both uses of the straight line are applied
together, it really looks awful. Take a look at the
easy beginning guitar music of Erwin Schwartz Reiflingen.
I appreciate the work that you guys are doing, and
I realize that I was a bit hard on you in my last. I
also know that I am not nearly as hard on you as you
are on yourselves when you try to work the unworkable.
:-)
It occurs to me that a good way to help deal with multiple
parts on one staff would be to use SATB terms.
1. one part on a single staff. (solo)
2. two parts on a single staff. (bass and soprano)
3. three parts on a single staff. (bass, mezzo, soprano)
The mezzo part stems are shortened and their directions
default to the same as solo.
4. 4 parts on a single staff. SATB. Tenor stems down, alto
stems up, both shortened.
I think it might be less confusing than numbering the
parts when configuring defaults or finding it necessary or
desirable to change stem directions and length, etc. e.g.:
mezzo=tenor gets the center of three parts stems down,
mezzo=bass gets them down and long, tenor=mezzo gets the
2nd of four parts to follow the rule of stems, mezzo=solo
lengthens the stems of a center part without affecting
direction. If notes and chords are entered in parts, crossing
parts becomes a simpler issue.
All of this is on one staff. I don't see how it could be
confused with choral parts.
--
Peace, understanding, health and happiness to all beings!
U U u ^^ ` 'U u U ''`'`
_-__o|oO|o-_|o_o_-_MN[-->mm@_-_--___o|o|oU_|o_o__lilypond
dave N Va USA David Raleigh Arnold [EMAIL PROTECTED]
