Support for ties across voltas / repeats

• Sep 5, 2020 - 11:41
Reported version
S5 - Suggestion

In my piece there is a repetition with two different endings.

If I use a tie in the last measure before the endings , it is only used for the first ending, not for the second one.

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A bug is something that doesn't work as designed There has never been a design proposed to handle this case. It's a feature everyone would like to see, but first someone needs to design it, then it can be implemented according to that design. The design should handle all the various cases that occur, not just ties into second endings, but other one-side ties cases that cannot so easily be guessed at.

In reply to by Marc Sabatella

Hmm, as a programmer I've never liked that definition of a bug, despite the fact it's what might make sense from our perspective. It doesn't match how the user sees it, when there's every reason to expect particular behaviour but it doesn't occur. But if the design for how to show ties when there are multiple volta endings didn't describe what should happen in that case based on standard notation engraving practice, then fine, the bug was in the design. I don't really see that there's any "design" required though - the rule is pretty straightforward, I'm not aware of any exceptions to it. If 2nd or subsequent volta ending starts with a note at a pitch that matches a tied pitch at the end of the last measure before the 1st volta ending starts, it should always show a "leading" tie.
I'd think it should be the same for slurs and other lines (hairpins etc.), though they may be harder to fix.

Handling the obvious cases automatically might not require any special design, but those are only a subset of the case where one might want this. Plenty of cases we couldn't detect automatically, so there need to be a user interface for adding these manually as well, and then as for other things that are sometimes automatic and sometimes manual (eg, accidentals), a system for managing this relationship. Also deciding on things like, what happens if measures or repeats are later add or deleted that change things, really quite a few details to work through as far as how this all is presented to the user. We've gotten serious the last year or so about not simply implementing features based on our own whims as developers, but instead having some top-down design coming from @tantacrul or others. It's part of the process now.

In reply to by Marc Sabatella

I appreciate the comments about 'design hierarchy'. My approach has always been simple. Take some examples from the repertoire, and enter them. I suggest starting with selected Debussy Preludes and the a few pieces from Microcosmos Volume VI. Phrase markings, accidentals, articulations, spacing, clusters,
grape stems, only having 4 voices per staff, beaming / ties over end of lines, beams going through time signatures, clusters in 3 voices with different durations, [eg a whole note, a dotted half, a quarter, a sixteenth - dotted eighth - beamed and a dotted-eighth with a flag].