1

I'm aware this is an FAQ but I've tried a bunch of commonly-suggested workarounds (\repeatTie, \laissezVibrer, hiding noteheads and/or stems) without success. What is the easiest way of tying the notes at the end of bar 1 to the beginning of bar 2?

\version "2.18.2"

\score {
  \new Staff {
    \time 4/4
    \clef bass 
    \relative c' {
    <bes d f>8. e16 d8
    <a~ d~ e~>8
    <a~ d~ e~>2
      <<
       { d2 cis2 } \\ { <a e'>1 }
      >>
    }
  }
}

2

Tricky problem!

This is a very hacked solution, but it's at least a solution:

\version "2.18.2"

\score {
  \new Staff {
    \time 4/4
    \clef bass 
    \relative c' {
    <bes d f>8. e16 d8
      <<
        {
          s8 s2 |
          <a e'>1 |
        }
        \\
        {
          \stemDown
          <a~ d~ e^~>8 <a d~ e>2 |
          \stemUp
          \override NoteColumn.force-hshift = 1.5
          d2 cis2 |
        }
        \\ 
        { 
          \override NoteColumn.force-hshift = 0
          \stemDown
          s8 <a_~ e'^~>2 |
          \override NoteColumn.force-hshift = 0.5
          q1 |
        }
      >>
    }
  }
}

enter image description here

There are probably a few tweaks to clean this up, but unfortunately I'm not in a spot to make those tweaks right now. Hopefully this helps!

  • Hacky or not, I'll take it! (I'd played with force-hshift but it did nothing at all in my experiments. My first thought on seeing your code, "ah, there shouldn't be a # before the number", turns out not to be why.) – hexwab Feb 25 at 2:51
1

Ties only work inside a Voice, << ... \\ ... >> implicitly starts two voices named "1" and "2". The proper way is to just let your main Voice continue:

\version "2.18.2"

\score {
  \new Staff {
    \time 4/4
    \clef bass 
    \relative c' {
      <bes d f>8. e16 d8
      <a~ d~ e~>8
      <a~ d~ e~>2
      <<
        \new Voice { \voiceOne d2 cis2 }
        { \voiceTwo <a e'>1 \oneVoice }
      >>
    }
  }
}

Here \voiceOne and \voiceTwo switch to two-voice stem/tie/slur directions while \oneVoice reverts the main voice settings back to the normal settings for a single voice that let those directions depend on the pitch.

However, while this expresses your original intent, it may lead to confusing output in other situations (like transposing this one octave down) since then stem directions in the second voice will flip at the moment the first voice comes in. So you actually want to have the voices split before that so that the tied over second voice notes don't change character in the middle. That would be

\version "2.18.2"

\score {
  \new Staff {
    \time 4/4
    \clef bass 
    \relative c' {
      <bes d f>8. e16 d8
      << { s8 s2 d2 cis2 } \\
         { <a~ d~ e~>8
           <a~ d~ e~>2
           <a e'>1 }
      >>
    }
  }
}

s is a symbol for skipping the typesetting of music for the given duration. Of course you could still use the first version (if you like this better) perfectly well and just move its \voiceTwo command from inside of the << ... >> construct forward to the point where you want the visuals to change:

\version "2.18.2"

\score {
  \new Staff {
    \time 4/4
    \clef bass 
    \relative c' {
      <bes d f>8. e16 d8
      \voiceTwo
      <a~ d~ e~>8
      <a~ d~ e~>2
      <<
        \new Voice { \voiceOne d2 cis2 }
        { <a e'>1 }
      >>
      \oneVoice
    }
  }
}

Note that I also moved \oneVoice out of the << ... >> construct here for purely cosmetic reasons so that it pairs better with \voiceTwo. Also note that << ... >> does not start any new Voice on its own: it is when \\ is used in its middle that multiple voices get started. Otherwise new voices get started only with explicit \new Voice.

  • The problem here is that there are only two ties instead of three. – hexwab Feb 26 at 12:02

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