It is also possible to do it by manually changing the style of the tied
voice without having to hide any notes:
\relative c'' {
<< { s2 s4 e } \\ { s2 \voiceOne \tieDown d4~ \voiceTwo d } \\ { \voiceTwo
f,~ <a~ f> <a f>~ <a f> } >>
}However, if a tie is indeed meant then the proper method per current practice would be to indicate all three notes of the chord in the lower voice (and in this case, since they're all tied, replace the quarters with halves); the fact it isn't (and the slightly different angle of the curve as opposed to the clear ties for the other notes) makes me conclude that it probably is in fact a slur between the d'' and the e''. Cheers, Aleksa Am Sa., 20. Dez. 2025 um 16:13 Uhr schrieb Knute Snortum <[email protected] >: > On Sat, Dec 20, 2025 at 12:58 PM Eirik B <[email protected]> wrote: > >> Thank you both for your suggestions, >> >> I did initially write this as Aleksa did, but I think there is supposed >> to be a tie between the D in the third and fourth beat, and it is this I am >> trying to replicate, not a slur from D to E. This is the crux of the >> problem, creating a tie across different voices. I thought I had a good >> strategy for doing this, but then ended up with the unexpected chord >> grouping of the D and E in the fourth beat, as demonstrated in my intitial >> example. >> >> I apologize for not being clear on this initially. >> > > Not the prettiest thing, but it works: > > %%% Start > \version "2.24.4" > > \relative c' { > << > { s2 d'4 e } > \\ > { f,4~ <a~ f> <a f>~ <d a f> } > \\ > { s2 \voiceOne d4_~ \hideNotes d } > >> > } > %%% End > > > > -- > Knute Snortum > > >
