The only thing I dislike about this is the use of \hideNotes.
\hideNotes makes Notes _transparent_ but doesn't remove the stencils.
This often results in strange output issues, sometimes striking,
sometimes subtle. The problem is that the ties or slurs will still try
to avoid the hidden items, which is particularly annoying with hidden
notes with flags.
http://lilypondblog.org/2013/07/voice-contexts-in-temporary-polyphonic-sections/
treats this issue from a slightly different perspective. Writing a post
about cross-voice ties has been on my todo-list for a very long time.
Best
Urs
Am 04.09.2014 20:26, schrieb Abraham Lee:
On Thu, Sep 4, 2014 at 11:23 AM, Jacques Menu <imj-...@bluewin.ch> wrote:
Hello folks,
I'd like to obtain the tie between the cis's in beat 1 and 2 in the
attached, from a version of BWV 508 (3/4).
The best I could find is:
%%%%%%%%%
\version "2.18.2"
{
\clef "treble" \key b \major \time 3/4
...
\tieDown
<cis ~ ais fis>4 )
<<
{fis8 --}
{\hideNotes cis8 \unHideNotes}
>>
fis8 ( [ ais fis ] |
}
%%%%%%%%%
Problem: \hideNotes applies to fis8 too, leading to the following, in
which the tie applies to ais's and not cis's by the way:
Thanks for your help!
JM
--
Jacques Menu
Ch. de la Pierre 12
1023 Crissier
mailto:imj-...@bluewin.ch
Jacques,
You are really close. The way that I do it is to use explicit parallel
voices like this:
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\version "2.18.2"
pianoRH = \relative c {
\clef treble
\key b \major
\time 3/4
\new Voice {
\voiceOne
<<
{
<fis ais cis>4 fis'8\noBeam fis ais fis
}
\new Voice {
\voiceTwo
\once \hideNotes <fis, ais cis ~ >4 <ais cis>4 q
}
>>
}
}
{ \pianoRH }
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
I have yet to run into a problem with this approach. Actually, this
kind of syntax solves a lot of other problems, too.
HTH,
Abraham
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