Hey Martin,
> perhaps by giving a minimal example of the particular situation you have,
> where you feel a “tied rest” is the best possible solution, other people
> could give you better approaches.
Check out the email I sent just a few minutes before yours, it goes
into greater detail about why I want this particular behavior. The
short of it is that it allows me to treat something like "4~ 16" as a
single duration object (like "4", "4.", "4..", "4...", etc) making it
easy to look it up in a table and result in Lilypond correctly
printing out pitches or rests. So "c4~ 16" would print a C quarter
note tied to a 16th note and a "r4~ 16" would print a quarter note
rest followed by a 16th note rest.
Hope these two emails make it clearer why I want to do this.
Dave
On Mon, Feb 22, 2021 at 1:29 PM Martín Rincón Botero
<martinrinconbot...@gmail.com> wrote:
>
> Hi David,
>
> perhaps by giving a minimal example of the particular situation you have,
> where you feel a “tied rest” is the best possible solution, other people
> could give you better approaches.
>
> My software does create rests, it's just in the particular situation
>
> where a voice in one staff (like in a piano) has a quarter tied to a
>
> 16th that I need the same voice in the other staff to create the
>
> appropriate rests (quarter followed by a 16th).
>
>
> I still don’t understand why having one voice such as {c4 ~ c16 c8.} can’t be
> “translated” to a second voice that “creates the appropriate rests“ producing
> something like {r4 r16 r8.} with no tie, or rather, why isn’t something like
> this the first approach for your software. It seems we’re all on this list
> missing something about the way you’re working with your software to be able
> to help.
>
> Cheers,
> Martín.
>
> www.martinrinconbotero.com
> On 22. Feb 2021, 21:50 +0100, David Bellows <davebell...@gmail.com>, wrote:
>
>
> that
