Ties not working on notes in separate voices

• Jul 14, 2016 - 18:21

I've got some grace notes that I want to tie to a regular note, but the program is not letting me because the grace notes are linked to a note in a different voice than the note I want to tie it to. Is there a way to fix that? If not, please add that feature for 2.0.4, please.

If I have been unclear in any way, here's the score. It's the two G flats in the bass clef on measure 7, the first being a grace note, that I want to tie together. However, all those grace notes are linked to the E flat and B flat sixteenth notes, which are part of voice 1 in the treble clef, while the second G flat is part of voice 1 in the bass clef. How do I tie the two G flats together, if possible. If not possible, please add that feature for MuseScore 2.0.4. Thanks!


The only grace note I see in measure 7 is an acciaccatura of pitch G-natural (gotta say that with a sort of French/Italian accent). Where is this set of two G-flats of which you speak? or am I trippin' ;) Ties apply only to equal pitches, so maybe there's a 'typo' in your notation. Musescore does allow tying between a grace note and a regular note of the same pitch but different voice, and for a quirky example of this:

P.S. as per an upload of the two-handed etude by Chopin we have:
This is a crushed A# slurred for technique purposes into the G#, not a crushed G# tied to another G#

Hope this helps.

In reply to by worldwideweary

I believe he is talking about measure 7 as notated (the pickup is notated as measure 1) - the first measure third system.

The problem isn't that you can't tie notes across voices - that normally works fine. Even for grace notes. But the issue here is that the notes are actually on different *staves* (although they have been moved to display on the same staff). Tying grace note across staves to a note on the same beat isn't supported, apparently.

In reply to by 2142Kitch

This is a visual work around (it may not sound proper, but it already doesn't sound proper with the grace notes on my system ;), but if you select that Second Gb and add its own 16th grace note to it and then make that grace note stemless and add the tie, then move it via the chord horizontal offset into the place of the first Gb grace note, you will get a decent work around:


Is that what you were attempting to achieve?
This is with -4.20 horizontal chord spacing on my system. I made sure to remove the stem and add the tie before changing the spacing.

In reply to by 2142Kitch

Keep in mind playback is very much secondary; notation is the primary purpose of MsueScore. Considering how rare this particular situation is and and how easy the workaround is to get the score *looking* good, this sort of enhancement would probably rate pretty low in priority. but feel free to submit it officially to the issue tracker (see link in menu at right of this page) with a short sample (like just that one measure) to show what you mean.

In reply to by worldwideweary

Funnily enough, I've got that very copy, and am using it as practice for MuseScore, especially since I want this song to be more available to people. I myself am learning this piece as we speak, and I really like it. It's not easy, but it's unique, and if I learn it, I'll have something awesome to boast about, namely playing one of Chopin's Etudes one-handed.

Soon after I started re-transcribing this, though, I ran into some problems, that one being one of the more major ones. It's a tough piece to transcribe.

In reply to by worldwideweary

P.S. it looks like Leopold Godowsky not only arranged this for one hand but transcribed it by dropping everything down one semitone, which is the reason why I saw some weird discrepancy. I don't understand why he would do this unless he thought it easier to play for one hand. Still, it feels sort of wrong. Maybe my original is wrong? Who knows anymore.

In reply to by worldwideweary

If you say he dropped it down one semitone (which I'm inferring means one half-step) why is it in D flat major instead of E flat major, as the original key was in E major?

Also, Leopold Godowsky's arrangements (or more accurately, studies) of these etudes are harder than the originals, except for maybe this one. I don't know what his motives for doing this is, but from what I've seen of his studies, he seems to be either testing pianists everywhere or giving them arrangements that will force them to increase their technique at the piano, but most likely both. He made Chopin's Op. 25 No. 1 Etude sound like a duet, even though it's actually for solo piano, and I'll admit, that was impressive, but the difficulty shot through the roof! It's difficult like you wouldn't believe! He also made an arrangement of that same etude and removed the right hand, again forcing you to play it with only your left hand. He's been doing all sorts of stuff like that for all the etudes under Op. 10 and Op. 25.

In reply to by 2142Kitch

Thanks for the information.
I'm grabbing the left-handed studies for later b/c of you, eh? Like you say maybe the key difference is for study's sake and obviously not a disrespect to the original.

P.S. I glossed the text and over simplified seeing the immediate nature of the grace-note to be of one half-tone difference.

In reply to by worldwideweary

Be warned: none of the left-handed versions of Chopin's Etudes are easy. As I said before, they're usually harder than the original. Also, I think the key difference makes it sound very beautiful, but also very odd for those not used to it. Of course, that's the case, I think, with all classical music.

Of course, not all of Leopold Godowsky's studies have key signature changes from the original.

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