![]() This is because there is a very specific meaning to the language. In all, this section of music took me about 10 minutes to get my initial input (which was almost perfect). bracket () and everything else was denoted in their proper voices. Other than this, the syntax of the input is very simple. I had already, in the previous measures, set the program to avoid printing tuplet numbers in the L.H. slur position, the other the stem directions, and the last the beaming. In this example, I only had to modify 3 separate circumstances in the music. This greatly simplifies syntax, mostly because instead of you being left to your own devices, you are asked to learn a lean language (the Finale equivalent of hot keys and keyboard shortcuts) in order to accomplish a goal. The developers have spent an enormous amount of time coding what are time-tested engraving standards so that, in most cases, you get the right output, or something not far from it. LilyPond stands in sharp contrast with the usage of other programs. ![]() This is also what I did I did find shortcuts to enter notes, but that’s only 50% of the work that needed to be done. Most people find shortcuts to do what they want, but a lot of people (this is a generalization) probably just click and drag if not the notes than everything else. This is how seasoned Finale experts run their program, albeit a small amount of people. Also imagine the kerning every letter to the next. Imagine if you had to click-and-drag every letter of what you wanted to say into place on a program that publishes books… wouldn’t that be cumbersome? This method of input would be beyond difficult, which would eventually mean you would find keyboard shortcuts to do the trick. It supposedly requires little to know communication to the program (other than the program understanding you gestures). Many would consider a program like LilyPond a fairly complex syntax. They say that the click and drag option is a lot better, because it is a graphical representation that you can manipulate. ![]() Think of syntax as a language with which you speak to the program in order to communicate effectively. I have made a note of this and it is something we will implement in a future version of the software.Syntax: the arrangement of words and phrases to create well-formed sentences in a language.Įvery program, whether it has a GUI or not, has a syntax, a code of operation and understanding. closest to the end of the stem) note should optionally have its tie curve towards the stem. ![]() I agree that it would be worth adding an additional rule to handle this specific case, namely that the a chord with a single tie on the innermost (i.e. (For what it’s worth, Finale gives the same result as Dorico by default with its factory settings, perhaps for similar reasons.) In this particular situation, with only a single tie, it is ending up with an up-curving tie basically as a starting point. It is actually using the most standard rule for single voice situations, which tries to balance the number of up- and down-curving ties in a chord evenly. I’ve spent some time looking into which of Dorico’s many rules for determining tie direction is being used here. ![]() To return to Mats’s example at the beginning of the thread, which is the same as the first of the two examples you posted in your own original reply, John, i.e. this one:ĭoes pertain precisely to the examples on pages 70 and 71 of Behind Bars, hence my own reply that linked to the other thread in which that specific rule has recently been discussed. John, in your original reply in this thread, the second of the two examples you posted, i.e. ![]()
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