And, another case where I'm not sure Lilypond has done the right thing.
The first four notes should sound simultaneously. In the first score,
three layout problems make it harder to understand that intent:
- The notes are arranged in three distinct columns of notes: C at left, B
and E in the middle, and F to the right. In a Bach solo violin fugue, you
might need to have four simultaneous notes in more than two horizontal
positions, but this is not that case.
- The second C 16th note is placed underneath the F, which misleads the
eye into thinking that this 16th note should be simultaneous with the
whole-note chord. Wrong -- it should actually be the first 16th.
- The first notes in the voice-two rhythm are visually separated by the
voice-one chord.
Fortunately, it's easy to adjust -- I worried that force-hshift would mess
up the spacing between the 16th notes, but it's actually quite clean. It
also follows the heuristic I've used for years in handwritten notation to
handle simultaneous 2nd intervals:
- If the stem is up, start at the bottom of the chord; if down, start at
the top.
- Add the notes one by one in the same vertical column, as long as the
interval between notes is a third or more.
- When the next note is only a second away, shift that note to the
opposite side of the stem. Then the next note reverts to the "normal"
side.
Following that, by hand, I would have written B on the left of the stem,
switched to the right for C, then E on the left and F on the right, as in
the second score.
So I have my doubts about LP's default behavior here.
\version "2.15.36"
\score {
\new Staff \relative c' {
<<
\new Voice { \voiceOne <b e f>1 }
\new Voice {
\voiceTwo
c16 c r c ~ c8 c16 c c c c r c c r c
}
>>
}
}
\score {
\new Staff \relative c' {
<<
\new Voice { \voiceOne <b e f>1 }
\new Voice {
\voiceTwo
\once \override NoteColumn #'force-hshift = #2
c16 c r c ~ c8 c16 c c c c r c c r c
}
>>
}
}
hjh
--
James Harkins /// dewdrop world