Hi Olivier,
> In the following example, I don't understand why there is a collision at the
> third measure and I don't know how to avoid it.
May I ask why you’re not using Lilypond’s built-in (and generallly excellent)
voice-handling? e.g. In the modified snippet (below), I’m using \voiceOne,
\voiceTwo, etc., which eliminates the need for \stemUp, \tieDown, etc., and
appears (to my eye) to eliminate all note collisions.
If this doesn’t answer your question, please post again.
Hope this helps!
Kieren.
p.s. Also note that I abstracted your note code from your score code — it is so
much easier to read and debug this way, in my opinion, and it keeps the score
block as clean and simple as possible.
____________________________
\version "2.18.2"
\paper {
indent = 0\cm
}
global = {
\key c \major
\time 4/4\tempo "Allegro vivace"
}
theMusic = \relative c' {
c4^"Tutti"\f r8 \tuplet 3/2 { g16( a b } c4) r8 \tuplet 3/2 { g16( a b } |
c4) r r r8
<<
{ \voiceOne
c'^"Strings" |
c4. b8 d4. c8 |
g'2( f4)
}
\\
\new Voice
{ \voiceTwo
r8\p |
<f, d>2 <e c> |
<d b>~ <d b>4 r4
}
\\
\new Voice
{ \voiceThree
s8 |
g1 ~ |
g2 ~ g4
}
>>
r4
}
\score {
\new Staff << \global \theMusic >>
}
________________________________
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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