My question may need some clarification. Especially the third example,
which should look something like this:
[image: Inline afbeelding 1]
\relative c''{
<<{<g e>2. r4}\\{<c, a>4 a8 c <cis b~> <d b> <e cis> <f c g>}>>
}
The tie starting at the b on the third beat in the second voice looks a
little awkward. It may be theoretically correct, but it looks artificial to
me since the only movement at that point is c# to d.
What I basically want to know is when it is OK to introduce a new voice to
get rid of these ties.
Thanks,
Sven
2015-10-03 14:30 GMT+02:00 S <pianofiles2...@hotmail.com>:
> I'm not sure if this is the right forum for this question, but I'll post
> it anyway. I think it has more to do with music notation in general, but
> after reading a couple of threads, I'm confident some of you would be able
> to answer the following question about the use of ties or voices.
>
> I'm copying a piano arrangement into lilypond. I'ts a jazz ballad and so
> there is a lot of inner movement going on. The notes in most of these
> passages have been split into multiple voices to accommodate the various
> note lengths. However, every now and then I run into something like this:
>
> <a f c>4 c,8 <a' f>8 <g~ e b>4 <g es bes>8 <f des as>
>
>
> and for some reason that g~ really annoys me. Wouldn't it be better to
> write:
>
> <a f c>4 c,8 <a' f>8 <<{g4. f8}\\{<e b>4 <es bes>8 <des as>}>>
>
>
> This way the top notes of the melody get separated from the rest and the
> {g4~ g8} becomes {g4.}
>
> Or in general: When is it OK to introduce a (temporary) new voice to
> substitute for a tie? Or the other way around for that matter?
>
> The following excerpt shows another example:
>
> <<{<g e>2. r4}\\{<c, a>4 a8 c <cis b~> <d b> <e cis> <f c g>}>>
>
> If we put the b~ in a separate voice and give it a duration or 4 the tie
> wouldn't be needed.
>
> Any thoughts?
>
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>
>
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