On Sat, Sep 16, 2006 at 08:45:16PM -0400, Kieren MacMillan wrote:
>
> Well, you've run into a subtlety of Lilypond that could, perhaps, be
> better documented... ;-)
>
> Consider the following code snippet:
> theMusic = \relative c'
> {
> <c d g>1 ~ | << <c d g>1\fermata \\ { s2 c4 c } >> \break
> <c d g>1 ~ | << { <c d g>1\fermata } \new Voice { s2 c4 c } >>
> }
>
> Notice that the tie does not work "as expected" in the first example,
> but does in the second.
>
> This is because, in the first example, the << \\ >> construct
> explicitly instantiates TWO voices, BOTH of which are in addition to
> the one which contains the <c d g> that starts the tie -- as a
> result, the tie doesn't know where to end, because its Voice doesn't
> continue on into the <<>> block.
>
> In the second example, the \\ is replaced by an explicit (manual)
> instantiation using \new Voice -- this ensures that anything before
> the \new Voice command is considered part of the Voice that existed
> before the <<>> block began, and so the tie knows where to terminate.
Thank you Kieren for that explanation. What about the converse case,
where a tie begins inside a << { } \new Voice { } >> construct, at the
end (in the second voice, and one wishes the tie to continue to the next
note or chord outside that simultaneous music construct, like--
\relative c'' {
\time 4/4
<< { c2 r2 } \new Voice { e,4 f g <ees g bes>~ } >> |
<ees g bes>1 |
}
--
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