Re: Avoiding tie/prall collision

[Janek Warchoł]

On Wed, Apr 11, 2012 at 8:32 AM, Helge Kruse <address@hidden> wrote:
> Am 10.04.2012 08:37, schrieb Janek Warchoł:
>
>> On Tue, Apr 10, 2012 at 6:31 AM, Helge Kruse<address@hidden>
>>  wrote:
>> It's not a matter of benefits - using stemUp/Down instead of
>> voiceOne/Two/.. simply produces typographically wrong results:
>> stemUp/Down only changes the direction of stems, while the direction
>> of ties, slurs, articulations, dots, positioning of rests etc. should
>> be changed, too.

Going back to your first example with prall and tie: i didn't notice
before (i didn't compile your example) but the prall is actually in a
wrong place.  It should be under the staff, since it's attached to
downstem notes; using \voiceTwo would do this automatically.

> I can't contradict this statement. But sometimes I don't find a way to place
> the notes without stemUp/Down like in this example:
>
> \context PianoStaff <<
>  \context Staff=right \relative c'' {
>      \key g \major \time 3/4
>      s2.
>      \times 4/6 {r16 b cis d[ cis b]} \times 4/6 {r16 cis d e[ d cis]} d a
> fis d | % 40
>  }
>  \context Staff=left \relative c' {
>    \clef bass \key g \major \time 3/4
>    c4 d e |
>    \change Staff=right g4 a \change Staff=left fis | % 40
>  }
>>>
>
> The left hand plays the two quavers (g and a). The semiquaver rests belong
> to the right hand's voice. Therefore I want to quavers shown below the
> rests. But the notes in the sextuplet should keep the stems down to avoid a
> high skyline.
>
> I played around with voiceOne/Two but found no solution. Probably you have a
> one?

Hmm?  You can choose whichever voice you want to be first (upper) one, either

\context PianoStaff <<
 \context Staff=right \relative c'' {
     \key g \major \time 3/4
     R2.
     \voiceTwo \times 4/6 {r16 b cis d[ cis b]} \times 4/6 {r16 cis d
e[ d cis]} \oneVoice d a fis d | % 40
 }
 \context Staff=left \relative c' {
   \clef bass \key g \major \time 3/4
   c4 d e |
   \change Staff=right \voiceOne g4 a \change Staff=left \oneVoice fis | % 40
 }
>>

or

\context PianoStaff <<
 \context Staff=right \relative c'' {
     \key g \major \time 3/4
     R2.
     \voiceOne \times 4/6 {r16 b cis d[ cis b]} \times 4/6 {r16 cis d
e[ d cis]} \oneVoice d a fis d | % 40
 }
 \context Staff=left \relative c' {
   \clef bass \key g \major \time 3/4
   c4 d e |
   \change Staff=right \voiceTwo g4 a \change Staff=left \oneVoice fis | % 40
 }
>>

both are semantically correct and will produce reasonable reasults,
even if some notes were dotted, tied or whatever (unlike your code,
which sets only stem direction).
I think that the second one is clearer for the performer, though.

Also, a high skyline almost never is considered a problem, and it
certainly has lower priority than clear voicing.

Bottom line: when dealing with one-staff polyphony, *always* use
\voiceXXX.  I can't think of any situation where you should override
stem direction alone.

HTH,
Janek