On Aug 5, 2013 1:39 PM, "David Rogers" <davidandrewrog...@gmail.com> wrote: > Isolated, your example looks perfect to me. I think what's making it > look ugly to you is probably that it makes the spacing suddenly wider in > an otherwise fairly-tight score.
Sure, that sounds right. I don't think I will ever be able to see it as "perfect." > I see several possibilities for you (not listed in any order): > > - Pretend you like it this way Sense of humor - cute ;-) > - Put a line break nearby, to prevent line break right there As I already said, this the way I decided to go with it. If a professional engraver might sometimes decide to break on one barline to avoid a more awkward system break on a different barline (or awkward page turn, or...), it seems to me that an unsightly gap because of a large lyric syllable would also be a valid reason to break the system elsewhere. > My opinion: because you've been studying this problem for a while now, > Lilypond's default probably looks worse to you than it really is. I appreciate the thought, but I'm not quite interested in that particular flavor of Kool-aid. I'll go with my eye on this. I don't like how it looks, and I get something that is easier to read by fussing with the line breaks. I'm satisfied with that -- the attached *does* look perfect to me. About the only thing that would convince me is an example from a printed edition (not from Finale, of course) where a lyric syllable forces a short note at the end of a system far left of the barline. I did sing some ensemble music back in grad school, but I don't recall ever seeing a case as egregious as my "through" example. If I had seen it, I would have thought it strange and remembered it. That means, either I didn't look at enough vocal music (possible), or engravers try to avoid the situation. hjh
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