On 13/09/12 08:11, David Kastrup wrote:
If it does, so does
<< c'1 { s4 s\< s2 s\! } >>
Stepping back from syntax for a second, the problem with the above (as currently
implemented) is that the spacing will not produce correct output from a visual
engraving point of view. This applies also to articulations, ornamentations,
etc. which do not fall exactly on the note.
Consider e.g.
c'4 c'4\turn << { c'2 } { s4 s4^\turn } >>
Now, what you _want_ here is that the spacing for the final c'2 to be such that
it's clear that the \turn falls on the second quarter. That means that the
spacing of the c'2 probably needs to be larger than it would be otherwise, and
the \turn needs to fall halfway through that space.
What you actually _get_ is that the spacing of c'2 is entirely unaffected, and
the \turn falls in a location just to the right of the note-stem which makes it
look as if it's been accidentally placed a bit off.
AFAICS this happens because Lilypond considers "skip" elements s to be
irrelevant for spacing purposes.
The same applies to your example with the crescendo starting on the 2nd beat of
the c'1. You don't get sufficient horizontal spacing following the note to be
able to appreciate the nuances of the hairpin's placement: in practice, it would
most likely be read as starting on the note itself.
Further, the quarter-beat positions do not fall evenly in that horizontal space,
so if you have e.g. a \< \> on the same note, it may look like one is longer
than the other. Try e.g.:
<< { c'1 } { s4 s\< s\> s\< s\! } >>
... where each of the hairpins should last one quarter-beat, but actually they
are all of different horizontal widths, and the \> could easily be mistaken for
an accent.
So to me, the problem is not with the existing syntax per se, but the fact that
the existing syntax _doesn't produce the desired output_ and needs lots of
complicated tweaks to get right.
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