Hi Robert,
I for one don't think lilypond should be making decisions for you about tie
direction based on an idea of sequenced phrases. I know lilypond strives to
do as much good layout as it can without requiring tweaks, but this seems a
step too far. There is nothing mentioned about this in the NR as far as I
know. I would say it is undesirable, and a defect. Others may differ. I
would go so far as to attempt to raise this as a bug on the bug list for
further evaluation.
To work around this, bug or not, you can just control the tie direction,
for example:
\override Tie.direction = #UP
In most of my scores I am resigned to having to specify direction for each
and every tie with ^ and _ to precisely express what my composer colleague
writes, so I tend not to notice the behaviour you have spotted.
Andrew
On 15 November 2016 at 07:09, Robert Schmaus <robert.schm...@web.de> wrote:
> Dear Ponderers,
>
> something I just came across while pondering away: in the following
> snippet, there are two ties across barlines.
>
> %%%%%%%%%%%%%%%%%%%%%%%%%
>
> \version "2.19.35"
>
> \score {
> \relative c'' {
>
> | a2 r8 a8 ( a ) b ~
> | b2 r8 b8 ( a ) b ~
> | b2 r2
> }
> }
>
> %%%%%%%%%%%%%%%%%%%%%%%%%
>
> I've wondered why in the first instance, the tie is a down-tie, while in
> the second it's an up-tie (see attached screenshot). Is there a reason
> for this? Something like visual balance?
>
> I'm running Lilypond on a Mac. And I should add, that I'm really just
> curious, I don't have a problem with this behaviour.
> I'm guessing that this can only occur with notes inhabiting the middle
> staff line, right?
>
> Anyway, take care,
> Robert
>
>
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