I do not know if it is a bug or a deliberate choice, but I find ‘hide notehead’ a very limiting function at the moment.
When activated on a dotted note, the function also hides the dot, introducing a rhythmic error.
I sincerely hope that this behaviour will soon be corrected.
It’s certainly intentional that hiding a notehead will also hide its associated rhythm dot. Can you say a bit more about why you feel this introduces a rhythmic error? Under what circumstances do you want to hide a notehead but not its rhythm dot?
E.g. in this case the duration of the glissade is exact and explicit.
If I apply the function, the duration of the glissato appears shorter and the bar is missing a sixteenth.
I can’t see how the dot is necessary - the gliss (of a semitone) starts on the eighth, and continues till the sixteenth?
How would you perform it differently without the dot?
Exactly.
Further issue is that this is an engraving of an autograph and certainly the publisher would point out to me the lack of the dot as an error to be corrected.
Eh??? I said I can’t see how the dot is necessary.
Without the dot the measure will appear to be a sixteenth short. I can’t imagine any of the publishers I work for deeming this acceptable.
Apart from the specifics (if one literally considers the writing, the gliss. lasts a dotted eighth), doesn’t it seem strange to you that in the measure a sixteenth is missing as rkrentzman points out)?
The autograph is written by hand, so it’s trying to be fast for handwriting.
In this case make the dotted eighth a normal eighth + sixteenth, it’s much more legible for players.
I can agree with you, but at the behest of the publisher I have to copy the manuscript exactly.
In general, however, I find it bizarre (and frankly not proper) - especially in a software as semantically structured as Dorico - that a ‘cosmetic’ function should interfere with the rhythmic structure.
Gliss’s do not have a specific duration. Typically they start at an unspecified time after the start of the first note and end at the start of the end note.
I, for one, would be thoroughly confused by the example you give. And I have never seen a dot on a gliss line!
I made these rhythm dots with 2 separate text items, positioned by hand. At least when you hide the noteheads a shadow of the dots still appears so you can position the replacements accurately.
They certainly do in much music of the last several decades. Just like dynamic changes on certain beats in tied notes, the exact timing is indicated.
This example is problematic in other ways:
Not true. Gliss’s have never specified where exactly they begin, only where they end.
I don’t see how you can assert that when I have seen examples of it, and you cannot have seen every score there is.
Perhaps in this particular case it need not begin right on the beat of the last note. But if it were tied-to (and I have seen these), one would have to read it as beginning exactly on that beat.
Feel free to show us.
(A note followed by a gliss line does not explain where, in time, the gliss starts, merely that the arrival at the next note is via a gliss. Further, the convention is that the time for the gliss is borrowed from the first note, not the arrival point)
Here are examples from my own pieces.
The cello starts the gliss directly, approx on the offbeat of beat 3:
The cello starts the note on the offbeat of beat 2 and starts the gliss approx on beat 4:
My point exactly (approx on the offbeat. Not exactly on the offbeat, nor necessarily immediately the first note begins to sound)
It’s clear that the second example is held longer before the gliss starts, and thus a starting point of a gliss can be given.
If I would want a gliss to start exactly on beat 4 (while the note starts at beat 3), I could place a tied-to note in brackets on beat 4 where the gliss starts. That’s unambiguous and precise. I didn’t do it in my examples because I didn’t want it.
Here an example of the second violin. I clearly chose to where and from where glissandos go, when they change direction and thus start.
I still do not know when the first gliss starts. It is clearly somewhere during the 1st Eb, and certainly must start before the indeterminate note that starts the triplet. But is it at the instant the Eb sounds, or perhaps in the last half of that note, or elsewhere?
