In this case, the second approach isn't necessary, but in more complex situations it can be helpful to have the two voices (and to tweak spacing if necessary). ![]() Note that Lilypond will usually reserve space for the hidden s rests, even if they aren't there, so the second option will result in a more widely spaced version. (This is a useful trick to use in many places in Lilypond with multiple voices.) Thus, the lower voice only shows up on the first and third quarters of the measure, which is where you need it. (You'll get a "clashing note columns" warning from Lilypond, but the resulting notation will overlap the stems in a way that you want.) Here, the lower voice uses g,4 s g s where s is just a "spacer rest" (hidden), where nothing appears. Here, forcing the \stemDown on the first voice will combine it with the (downward) stem of the second voice. I'm writing baseChords before baseMelody, but it doesn't help at all. I'd like to show the chord names above the staff however, they are actually shown below the staff. By default, when multiple voices are created on a single staff, Lilypond puts the stems of the first voice going up and the second voice going down. I'm a newbie in Lilypond and am trying to write a sheet music with chord names and a bass line. Note that the > signs are used to indicate music that is played simultaneously, and the \\ separates the voices. The most compact Lilypond notation to create this would be something like: 2 } \\ > If you haven't needed to use multiple voices elsewhere in the score so far, no need to explicitly create them now. (2) If you have a more complicated situation than this which requires more than a notehead tweak, sometimes you'll need to use multiple voices. ![]() The duration-log setting for the notehead uses 4 for quarter-note style, 2 for half-note, etc. (1) The simplest is to tweak the notehead and change the lowest pitch in each chord to a notehead for a quarter note. Usually, for strings this implies that you play the lower note briefly at the beginning and then play the double-stop with the upper two notes and hold that for the rest of the duration.įor Lilypond, I can immediately think of two common ways to do something like this. ![]() Your guess is correct about the meaning of the notation.
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