Simon Albrecht <simon.albre...@mail.de> writes: > Hello David, > > pardon if I insist another time. > > Am 09.09.2015 um 22:40 schrieb David Kastrup: >> Joram <joram.no...@gmx.de> writes: >> >>> Hi Simon, >>> >>> I see. The difference is: I would not have expected that to work. But I >>> can see the benefit if it would, now. >> Sigh. It works perfectly. > > Of course it works as long as you keep inside the current way of > distinguishing in-chord and whole-chord ties. But, as I already said > earlier this day, ‘this means reconsidering the relation and the > handling of in-chord and whole-chord ties’.
It means no such thing unless you have built your own misconception of what << >> means. > I do not doubt your authority in interpreting the way LilyPond thinks, > but I have been using LilyPond for four years now and invested no > small amount of time into understanding how it works. My point is that > we shouldn’t be insisting on striking internal logics too much, if any > user who has not delved into the exact internal workflow of the > program will encounter problems with code that is perfectly sensible > /on the surface/. If you don't understand simultaneous music, don't use it for things for which it is not really intended like avoiding chord notation. > To return to our particular topic: the distinction between ‘ties > inside simultaneous music expressions within one voice which will be > arranged into chords only later’ and ‘ties within chords’ is very > subtle and far away to the musician(*). I can unfortunately not speak > about technical feasibility, or rather difficulty, but how about the > following approach: Any tie which is not attached to a chord in the > <>~ manner is interpreted as in-chord tie. This would shift the > preference from whole-chord tie to in-chord tie for ‘doubtful’ cases > like a~ (as opposed to obvious cases like <a~> or <a>~), so to > speak. In-chord articulations stick a _lot_ closer to the notehead and consequently do worse collision avoidance. It is generally wasteful to employ them when one only has a single notehead at one point of time. > (**) Nobody would expect the tie in > \new Voice << { c''~ c'' } { a' a' } >> > to mean a whole-chord tie, that is two ties for both c and a. One typical use of parallel music is assembling notes with an articulation track which results in something like << { c'' d'' e'' f''} \tag #'articulations { s-. s s-< s-! } >> and ~ is a construct of the same kind even though less likely to be employed conditionally. -- David Kastrup _______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-devel