Re: Different notehead types sharing a stem in double-stops

[Mats Bengtsson]

The easiest is to typeset the chord as two simultaneous chords
in the same voice. << <g,, d'>4 <bes' g'>2 \f >>
The only problem is that LilyPond prints some warnings on the
output, so it's easy to miss other warnings that may be important.

   /Mats

Quoting Michael Culbertson <address@hidden>:

> 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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