On 2/16/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
The easiest is to typeset the chord as two simultaneous chords
in the same voice. << <g,, d'>4 <bes' g'>2 \f >>
The only problem is that LilyPond prints some warnings on the
output, so it's easy to miss other warnings that may be important.
Using ...
\override NoteColumn #'ignore-collision = ##t
... will suppress clashing note column warnings while leaving other,
more warnings in tact.
/Mats
Quoting Michael Culbertson <[EMAIL PROTECTED]>:
> Hello,
>
> For string instruments, double-stops that involve all four chords
> are usually
> written with quarter-note heads for the bottom two notes, even if the rest of
> the chord is a half note. This is because the bottom two chords are
> struck only
> momentarily, like grace notes. Consider, for example:
>
> \paper { ragged-right = ##t }
> \new Score \relative c' {
> \clef treble \key g \minor \time 3/4 \cadenzaOn
> r4\< \times 2/3 { d'8[ e\tenuto( f\tenuto)] } \bar "|"
> <g,, d' bes' g'>2\f g''4 g \bar "|"
> \cadenzaOff
> }
>
> Here all four heads should touch the same upward stem, and the lower G and D
> should have filled-in heads, while the B-flat and upper G should have open
> heads. But, I can't figure out how to entice Lilypond to do such a thing. I
> tried separate voices, but Lilypond either split the stems
> (reasonable if they
> actually were different parts) or complained of note collisions (when I tried
> forcing the stem directions). In any case, the crescendo wouldn't end on the
> forte with the anonymous separate voices hack. I figure there's a way to
> override the note heads, but I can't make out the necessary scheme.
> Any ideas?
>
> Thanks,
> Michael Culbertson
>
>
>
>
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>
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Trevor Bača
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