Craig Stuart Sapp

However, I will sneak in another example that is related: The staff 2 notes in measures 2 and 3 (tests for chords and single notes) have beams that is overlapping...

From the perspective of a user interface (and programming interface), it would be better to not use multiple staff entries in `@place` to control the `between` position. Using multiple staves...

Agreed, although there would be certain cases such as very diplomatic encodings of a score. There are other collision problems such as overlapping with notes (which I am not reporting...

Toll! That one is a pain to fake with hairpins, so I have a temporary articulation which is just a `` with the contents ``.

OK, although what is the purpose of `mRpt@n` otherwise? But I can imagine that `@num=""` could be used to suppress display of a number.

Issue https://github.com/rism-ch/verovio/issues/92 has some examples of laissez vibrer: from Debussy preludes book II: http://conquest.imslp.info/files/imglnks/usimg/d/dd/IMSLP00510-Debussy_-_Preludes,_Book_2.pdf:

I like `@fioritura`, but not the name. For one thing, fioritura is a more restricted concept than "cue-like": > an embellishment of a melody, especially as improvised by an operatic...

> I would propose to drop `@cue` for layer elements entirely and only have it on layer. That seems like an interesting idea, although a survey of how part cues...

> Would that imply the beam is also cue-sized? In that case the beam must be regular sized since there is a real note that the instrument must play. >...

`@small` is better than `@fioritura` although it seems too neutral since these notes should be the same size as cue notes. But if the values of `@small` are `true` and...