Steve, Ok, here's what I got your snippet to do:
<http://lilypond.1069038.n5.nabble.com/file/n163143/polyphonic-notehead-collision-original.png> I'm not sure how my solution plays into the rest of the piece you are working on, but this works pretty well for me: guitar = \relative c' { << { e2. } % voiceOne \\ {} % voiceTwo \\ { <e,, e'>4 dis' cis } % voiceThree \\ { gis'8[ b] gis[ b] gis[ b] } % voiceFour >> } global = { \time 3/4 \key e \major \clef "G_8" } \score { \new Staff { \global \guitar } \layout {} } which results in this: <http://lilypond.1069038.n5.nabble.com/file/n163143/polyphonic-notehead-collision-partial-fix.png> Personally, I don't quite like how far that pushed out the e-chord in voiceThree because of the collision with the stem and the dot in voiceOne, so we can force the e-chord to be a little closer to look like the 2nd and 3rd quarter notes, if you prefer, by adding an override before the e-chord: guitar = \relative c' { << { e2. } % voiceOne \\ {} % voiceTwo \\ { /*\once \override NoteColumn.force-hshift = #0.3*/ <e,, e'>4 dis' cis } % voiceThree \\ { gis'8[ b] gis[ b] gis[ b] } % voiceFour >> } which looks like this: <http://lilypond.1069038.n5.nabble.com/file/n163143/polyphonic-notehead-collision-fix.png> I can't say that this would be the perfect solution, but I think adding the override makes the timing more obvious for the performer. Hope that helps! -Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/How-to-separate-these-voices-tp163131p163143.html Sent from the User mailing list archive at Nabble.com. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user