Re: turning a blind eye to dotted note

[David Wright]

On Mon 29 Jan 2018 at 15:16:53 (+0100), bb wrote:
> There was such a lot of information in all the responses, thanks.
> 
> http://lilypond.org/doc/v2.19/Documentation/learning/bar-lines-and-bar-checks.en.html
> Bar lines
> Bar checks
> I have read this and I think to understand.
> 
> \cadenzaOn does not set or check barlines and opens freedom to the
> user, nice, I used that already.
> 
> Let me come back to my original example:
> \version "2.19.80"
> mus = \relative { d4  cis8  c8  b8. ais8  a  gis }
> <<
>   \new Voice \mus
> >>
> 
> The point in the example is, that there is one 16th to much in the
> bar, not one missing. If I count, I get 17/16 in the bar! And I
> wonder that lilypond is seting automatically a barline after that
> 17/16 without complaining? In my understanding that is wrong!
> 
> What I would do or awaiting lilypond to do is splitting up that last
> 8th note into 2 16th note and connect it with a tie! Than this is a
> correct notation. The "math", 16/16 in one bar with 4/4 is right.
> http://lilypond.org/doc/v2.19/Documentation/learning/ties-and-slurs.en.html

So do that by telling LP how you want it notated.

And to understand why LP doesn't just do it "your" way, or force you to,
just settle down and look at a variety of scores, and see how music
has been notated in the past, and how we got to where we are. This will
increase your limited knowledge, both of music and LP's flexibility.

Cheers,
David.