![]() I can do it by copy/pasting a bar and then changing it, which is a little bit more work. This comes in handy when bars are not the same but only slightly different. I fixed it by copying part of the bar and that also copied the slur.Ĭopy/pasting only a subset by selecting indivdual notes is also not possible in MuseScore. This would mean I have to edit each slur manually and it is hard to get them all to look alike. So I manually edited it to my liking, but since this occured a number of times I wanted to copy/paste and found out I couldn't. In MuseScore I added a slur and it ended up on the beam side, not the note side. So I switched, first to Lilypond and now to MuseScore.Ĭoming from Logic, I am used to selecting e.g. I started out with the notation software Notator, which is now Logic and of course much more focussed on recording and mixing than notation now. ![]() ![]() The sort of adjustments I have to make to force a slur going *out* of a note look like a tie going *in* are more fragile than the text placement - any reformatting of the score *will* mess up the positioning. But it works well enough for that I think it is probably preferably to using a slur for this purpose. Probably works a bit better going into voltas than as an LV indication. I find that if I enter this symbol then increase the font size to 18, it is a pretty convincing imitation of a true tie, if still very much on the short side. They won't reposition vertically if you change the pitch, however. Only very slight manual adjustments should ever be needed. But they *do* follow the notes around the page as you change formatting, to within a millimeter or so. Perhaps not as intelligently as musical symbols are. Can you be more specific about the problems you have seen? In a separate thread, ideally.Īlso, the text symbols *are* attached to notes. However - I've never once seen a crash while using the F2 text symbol palette, nor can I remember anyone ever reporting such a crash. It's nice to have that choice, but it will be nicer still if/when a "real" solution is implemented. But it is simpler to use than some of the other more robust solutions, so it might have value in some cases. Like I said, I hadn't tried it in practice, and as you point out, there *are* drawbacks. I have made a note of this and it is something we will implement in a future version of the software.Well, I was offering it as a workaround, not a solution. 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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