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?
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)?
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.
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)
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.
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?