quote:)
pl 56.jcn3
- slur de-hairification
* slurs always attached to noteheads, by default
* corrections for steep and high slurs
* snap to stem end when close <<== *please* do not support the
odious practice of putting short slurs over beams. The slur should be
pushed toward
the end of the stem as necessary, and the stem should lengthen enough to
accomodate it if there are beams. Admit that the pianist's phrase mark
or long
slur should be treated differently from a guitar player's short slur.
(The
winds need both.)
There is all kinds of bad stuff that has arisen from the laziness of
programmer-typesetters, the most egregious of which is the dotted rest.
If OSU says dotted rests are ok, lose OSU. Going to a music academic
for music notation is like going to an architect for specific knowledge
about
bricklaying. I had a book
by Gardner Read (*Music Notation*) in college and it was only a few
years later,
when I was doing business
with music typesetters who were really knowledgeable and skilled,
that I found out how deficient Dr Read's knowledge was and how bad some
of his
suggestions were.
I saw that lilypond placed the time signature after the repeat sign.
Congratulations! That is rarely done. It is very good because it
maintains sequence,
preventing the repeat starting in $/4 for example, if the last measure
is in
$/4 instead of ?/4. Unfortunately, I also saw a key
change reminder inside repeat signs, which is not good. What if the
section ends in
a different key? Key change reminders are of dubious value when there
are repeat
signs anyway. The reminder was also particularly ugly.
For tuplets, engravers used to use curved lines with beams and brackets
with stems.
This was never really good, and present practice is much worse. I
propose that all tuplets
be bracketed in this fashion: \_3_/ (put the 3 in the gap). I originated
this long ago, and subsequently found that this superior practice had
been in use for
some time in Filipino pop music. Unfortunately, bad music typesetting
standards
have stopped evolution, at least *everywhere* *but* *here*.
Indention is only a good idea if you are going to name the instrument
or
voice in the space provided. What if you have 8 different compositions
on one page?
I saw some lilypond-produced guitar music without an octave clef. Every
transposition should have its own modification to the clef. There is
fresh meat for type designers, to keep them out of mischief, such as
making lines
too faint and dots too small because they think it looks elegant.
The standard diameter for an augmentation dot is about 30% of a staff
line.
It is too small. 50% is not too large, but IMHO and in the opinion of
others who are more experienced than I 40% would be an excellent
compromise. Permit me to doubt if two
typeface maintainers are enough.
I saved the worst for last. When a staff has multiple parts and a note
with
stem down is on a line, the dot should go in the space below rather than
the space
above. Both the Encore and Finale programmers got this wrong, and
workarounds are
very tedious. Gardner Read did not know this rule, and his failure to
correct his
book is inexcusable. Notice that the Finns (Sibelius) do it right.
--
Peace, understanding, health and happiness to all beings!
((((((( g__n__u f_o_r_c_e )))))))
lily_lily__lily MN[-------------------->mm@ _lilypond__
dave No Va USA David Raleigh Arnold [EMAIL PROTECTED]
