Gosh. There's no 'smell'. In piano music that has polyphony it is very
common, and indeed necessary to tie across voices. Dorico enables it
with ease (and if it did not make sense, I can assure you Dorico which
is heavily rule bound would not allow it). Lilypond cannot do it
natively. This is well known. Same with slurs, but that is not the
present topic. We are not talking about singing, and 'voices' in this
context does not relate to the human voice. Perhaps you are conflating
sung voices with voices in polyphony for keyboards.
I'll find a few examples to post later on to illustrate.
This has been a long standing limitation with LilyPond, not something
that I have suddenly cooked up. I encounter this extensively in the
modernist music I set, but I am doing the JSB WTC at the moment and even
he does it quite a lot, especially in the four and five part works.
Andrew
On 24/07/2022 3:27 am, Stephan Schöll wrote:
But from time to time I encounter things that don't make sense to me
from a semantical perspective. Ties across voices is such a thing. How
would that make sense? Yes, there has been a master in the past who did
it, but nevertheless, it has (in developer speak) has a smell. Should I
omit or correct that in my score? After all ties describe the
relationship between two or several notes within a voice (i.e. that can
be sung).
