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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