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Re: Patch: tie-ing enharmonic variants


From: Paul Scott
Subject: Re: Patch: tie-ing enharmonic variants
Date: Mon, 31 Jan 2005 13:22:43 -0700
User-agent: Debian Thunderbird 1.0 (X11/20050116)

Kilian A. Foth wrote:

Paul Scott writes:
> Kilian A. Foth wrote:
> > >Greetings,
> >
> >a while back I asked lilypond-user how to engrave a tie between
> >enharmonic variants, such as g sharp in one bar and a flat in the next
> >after a key change. The reponse was that not only does lilypond not do
> >this, but you cannot even typeset the tie manually by \overriding
> >something. I was also told that there had been a discussion about the
> >question previously, but I cannot find it in the archives - therefore
> >allow me to make my proposition here.
> >
> >I feel that lilypond should not silently refuse to tie enharmonic
> >variants if the user explicitly requests it. Choral music is
> >frequently notated like this, to help singers through key changes that
> >involve shifting from sharp to flat or vice versa. In keyboard music,
> >there is no difference between enharmonic variants at all, since there
> >is only one key for both. I therefore propose the following patch:
> > > > > What's wrong with just using a slur which should look identical to what > you want? >
Using a slur fails if you want to tie a chord, because it generates
only one slur instead of four.
as2( bf2)( as2) works fine in 2.4.2

It is also conceptually wrong, since tieing and phrasing are very
different from each other, and one often wants to typeset a slur over
a phrase that already contains ties; this is not possible if you
fake a tie with a slur.
You can use phrasing slurs to do this.
as2(\( bf2)( as2)\)

And it's only keyboard instruments where a Bb is the same as an A# so a slur is also technically more correct than a tie.

Finally, as I said, I feel that it is a Bad Thing to refuse to
generate ties that were explicitly requested, because that means that
best practices in choral notation cannot be followed.
I think my answers above cover that.

Paul






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