Re: Ties or multiple voices

[S]

My question may need some clarification. Especially the third example, which should look something like this:

\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 <address@hidden>:

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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