Victor Eijkhout wrote:
If I put \mark \default in each part, then I get an annoying warnnig message
about duplicate marks when
I include the parts in a score document. What's the easiest way around this?
Can you give the version number of LilyPond you are using and a small
example?
Paul
I did as it says in the manual to get different time signatures on each parts.
OK, fine but as expected line breaks do not occur because barlines do not
coincide at the end of a system.
So I created dummy measures with invisible barlines and time signatures. I
synced the measures at the end
I want to have a crescendo mark which starts within a monophonic part an ends
within a polyphonic part. Like this (non working) example:
c\cr {d\!} \\ {f}
The c should be connected to the subseeding d by a crescendo.
I know that I could put the first note into the polyphonic part (like this:
Hi Michael,
you could do your dynamics in a sperate voice altogether:
voiceI= { c {d} \\ {f} }
voiceIdyn = { s\cr s\!}
\score {
\new Staff
\context Voice = A \voiceI
\context Voice = A \voiceIdyn
}
Cheers,
Markus
Michael Kiermaier [EMAIL PROTECTED] schrieb im Newsbeitrag
Hi, Michael:
I want to have a crescendo mark which starts within a monophonic
part an ends
within a polyphonic part. Like this (non working) example:
c\cr {d\!} \\ {f}
The c should be connected to the subseeding d by a crescendo.
Short answer:
c\ { d\! } \new Voice { f }
Long answer:
Hi Kieren,
this doesn't work for me. I get the same error message as before.
I use Lilypond 2.8.6 (latest stable).
~michael
On Wednesday 04 October 2006 22:08, you wrote:
Hi, Michael:
I want to have a crescendo mark which starts within a monophonic
part an ends
within a polyphonic part.
Hi, Michael:
Does the attached do what you want?
Cheers,
Kieren.
\version 2.8.6
theMusic = \relative
{
c\ { \voiceTwo d\!} \new Voice { \voiceOne f }
}
\score
{
\theMusic
}
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Thanks for your reply, Markus.
I'm aware of the solution you suggested. But really I feel that the notes and
the dynamics should be together. So I would like to know if that is possible.
~michael
On Wednesday 04 October 2006 21:47, Markus Schneider wrote:
Hi Michael,
you could do your
Does \partcombine yield a music expression? I tried doing this:
\partcombine \partcombine \foo \bar \baz
The results were ugly. Lilypond complained a lot too.
warning: ignoring too many clashing note columns
The reason I ask is that Sacred Harp music from the Denson book has
three voices
As has already been mentioned, the current implementation
of partcombine has several problems and limitations and
there are plans to rewrite it completely. Therefore, none
of the main hackers has any interest in tweaking the current
implementation any more, so unless you want to do the
Bonjour
See this sample
http://lilypond.org/doc/v2.8/input/test/lily-1737238388.ly
Je voudrais, par exemple, que les parties ' Tutti ' soient à la taille
12 et des parties ' Solo ' à la taille 20.
Par exemple en faisant 2 parties distinctes.
Une Tutti et une Solo.
On change la taille des
Simple sample :
%
%different-Staff-size
One = \relative c' { c d e f g a b c}
Two = \One
\new Staff \with {
fontSize = #-4
\override StaffSymbol #'staff-space = #(magstep -4)
}
{ \One }
Simple sample :
%
%different-Staff-size
One = \relative c' { c d e f g a b c}
Two = \One
\new Staff \with {
fontSize = #-4
\override StaffSymbol #'staff-space = #(magstep -4)
}
hi all,
i wrote a shellscript which generates a score and the corresponding parts for
lilypond. the score-setup can be changed at anytime by editing the configfile.
it works with lilypond 2.8.x
i would be very happy if someone try it and send me some feedback.
greetings,
johnny
--
http
hi all,
i wrote a shellscript which generates a score and the corresponding parts for
lilypond. the score-setup can be changed at anytime by editing the configfile.
it works with lilypond 2.8.x
i would be very happy if someone try it and send me some feedback.
greetings
i wrote a shellscript which generates a score and the corresponding
parts for lilypond. the score-setup can be changed at anytime by editing the
configfile.
It is too long and without documentation or example config file.
And I don't want to learn yet another file syntax/convention
lundi 26 juin 2006
Bonjour à tous,
Dans une même partition, sur la même page, il
ya des parties ' Tutti ' et des parties ' Solo '.
Je voudrais, par exemple, que les parties ' Tutti '
soient à la taille 12 et des parties ' Solo ' à la taille 20.
Comment procéder?
Merci des indications que
After considerable
mucking about I offer this solution for those who have similar problems
:-
The music - Dvorak's
"Symphonie.IX.Sinfonia" E Moll - Mi Minore IV movement Opus
95.
The Part - Trumpet
II (E, Es, C)
The first half is
for E crook, then 2 measures with Es crook, then 16
alanvw wrote:
After considerable mucking about I offer this solution for those who
have similar problems :-
The music - Dvorak's Symphonie.IX.Sinfonia E Moll - Mi Minore IV
movement Opus 95.
The Part - Trumpet II (E, Es, C)
The first half is for E crook, then 2 measures with Es crook, then
1. Enter all the code as per the original into a notes file keeping
the five sections described above in separate definitions (macros):
% file: dvorak_trumpet_original_part.ly
% apply appropriate \relative commands below
emusici = { first half in E }
esmusic = { 2 measures in Es }
Werner LEMBERG wrote:
1. Enter all the code as per the original into a notes file keeping
the five sections described above in separate definitions (macros):
% file: dvorak_trumpet_original_part.ly
% apply appropriate \relative commands below
emusici = { first half in E }
esmusic = { 2
usually have a set of
files that contain the notes to each part, usually in the easiest
possible manner from what's written in the original (so, in your
example, I would just create a different variable for each
transposition section, but in the same file), then I have a second set
of files for the parts
in the original (so, in your
example, I would just create a different variable for each
transposition section, but in the same file), then I have a second set
of files for the parts and scores. Where this isn't as clean as using
\tag, I generally find it easier to nagivate in several smaller files
than one
Please,
lilypond 2.6.3:
lilypond the.bottom.bracket.ly
produces a midi file named:
the.bottom.midi
It chops off the third part of the name. Any way round this ?
Joe
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lilypond the.bottom.bracket.ly
produces a midi file named:
the.bottom.midi
It chops off the third part of the name. Any way round this ?
Not using dots in the name?
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Hello users and creators of the best music notation program in the world!
As always I have a simple question:
I'm collecting orchestra score WITH PARTS for our univ. library.
apart from the ones at mutopia, is there any orchestral score some
users may have typeset and willing to share? Or someone
have a simple question:
I'm collecting orchestra score WITH PARTS for our univ. library.
apart from the ones at mutopia, is there any orchestral score some
users may have typeset and willing to share? Or someone knows where I
can get them.. Orchestra scores (any composer) preferably with parts
It seems that nobody has answered your question, However, a closely
related answer can be found in
http://www.mail-archive.com/lilypond-user@gnu.org/msg18316.html
/Mats
Alison Watkins and the Hawthorn Family wrote:
I am typesetting barbershop music. When the melody is passed from one
voice
Hi Mats, sorry I answered this one too but am still a
bit careless with cc'ing the mailing list.
Cheers,
Edward Neeman
--- Mats Bengtsson [EMAIL PROTECTED] wrote:
It seems that nobody has answered your question,
However, a closely
related answer can be found in
I am typesetting barbershop music. When the melody is passed from one
voice part to another this is usually indicated by a straight line from
the last melodic note of the part losing the melody to the first melodic
note of the part aquiring it. Hence when you look at the music you can
see who
{
\RemoveEmptyStaffContext
\override RemoveEmptyVerticalGroup #'remove-first = ##t
}
\context{
\StaffGroup
\override SystemStartBracket #'collapse-height = #5
}
}
}
/Mats
Panteck wrote:
I'm writing a piece that has divided parts. My problem
I'm writing a piece that has divided parts. My problem is that Lilypond is
putting brackets around every line, not just the lines where the divisi
occurs. I though that the SystemStartBracket.collapse-height property would
take care of this for me automatically, but even when I try overriding
Is it possible to have alternative parts marked by volta brackets
in the middle of a repeat, and not only at the end?
This is very common in the kind of music I use Lilypond for.
--
Sven Axelsson
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Hello,
I have a piece of music for 4 harps, and I would
liketo know how to produce outputs
for each separate part: one output set of files
(pdf, ps, etc.) for Harp 1,
another set for Harp2, etc. I could do it by
commenting out all but one
part, but each time, I had to make sure to rename
Ferenc Wagner writes:
\score {
\context Voice = melody { \relative c' { c c c c | c } }
\new Lyrics \lyricsto melody { we shall o- ver- come } }
\score {
\context Voice = melody { \relative c' { c c8 e c4 c | c } }
\new Lyrics \lyricsto melody { we
Kilian A. Foth wrote:
Ferenc Wagner writes:
\score {
\context Voice = melody { \relative c' { c c c c | c } }
\new Lyrics \lyricsto melody { we shall o- ver- come } }
\score {
\context Voice = melody { \relative c' { c c8 e c4 c | c } }
\new Lyrics
Kilian A. Foth wrote:
Mats Bengtsson writes:
[...]
However, a simpler solution is to avoid to keep the original
Voice context for the upper music line when the music splits
into two voices. This is easiest done by not using the
{...} \\ {...} feature (untested):
\score{
\context
to use in order to divide a part
temporarily, but how do I associate lyrics with either of the divided
parts? As you see, the text simply skips the divided section:
`Pleasures invade' should coincide with the Solo in bar 23, but it is
only set under bar 29.
--
Kilian Foth
the trans- ports are, they wound.
}
}
(There really are three more voices, of course.)
Now, the manual told me how to use in order to divide a part
temporarily, but how do I associate lyrics with either of the divided
parts? As you see, the text simply skips the divided section
Mats Bengtsson writes:
Kilian A. Foth wrote:
Hello list,
I am having trouble setting lyrics to a choral part that divides
itself for a few bars only.
Hopefully,
http://lists.gnu.org/archive/html/lilypond-user/2004-12/msg00109.html
will answer this question.
Hmmm,
I am writing on a piece consiting of two parts. Part I is writen in
\time 2/4
part II uses
\time 6/8
The music was composed in such a way, that the measures of both parts have
the same length. I.e. I would like to get something like
Part I: \time 2/4 | a4 a4 | a8 a8 a8 a8 | a2
I am writing on a piece consiting of two parts. Part I is writen in
\time 2/4
part II uses
\time 6/8
The music was composed in such a way, that the measures of both parts have
the same length. I.e. I would like to get something like
Part I: \time 2/4 | a4 a4 | a8 a8 a8 a8 | a2
Hello.
The music was composed in such a way, that the measures of both parts have
the same length. I.e. I would like to get something like
Part I: \time 2/4 | a4 a4 | a8 a8 a8 a8 | a2 | ...
| | | |
Part II: \time 6/8 | e4. e8 e8
,
and using skips in the horns parts.
That works, but it doesn't exactly save any typing.
That's why I used the word workaround.
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Han-Wen Nienhuys [EMAIL PROTECTED] writes:
[EMAIL PROTECTED] writes:
No, there's splitInterval just for that.
Yes, but unfortunately, that property does not work anymore with the
part combiner.
So basically, i can't use the part combiner for this?
Oh, well. I've put a file out[1] that
, with the common rests,
and using skips in the horns parts.
hornOne = { s1 s1 s2 c''4 d'' }
hornTwo = { s1 s1 s2 e'4 g' }
hornRests = { R1 R1 r2 s2 }
\clef treble
\new Voice { \voiceOne \hornOne }
\new Voice { \voiceTwo \hornTwo }
\new Voice { \oneVoice \hornRests
Nicolas Sceaux [EMAIL PROTECTED] writes:
I've just typeset a score with the same issue: 4 french horns on two
staves, with several common rests on each staff. I ended up using the
following workaround: a third voice per staff, with the common rests,
and using skips in the horns parts
Robinson P. Tryon writes:
I'm typesetting a book of college songs and came across some parts
where two voices are on a single staff and share rests.
That sounds like a job for \partcombine, see input/test/hymn.ly
Jan.
--
Jan Nieuwenhuizen [EMAIL PROTECTED] | GNU LilyPond - The music
Jan Nieuwenhuizen [EMAIL PROTECTED] writes:
Robinson P. Tryon writes:
I'm typesetting a book of college songs and came across some parts
where two voices are on a single staff and share rests.
That sounds like a job for \partcombine, see input/test/hymn.ly
Won't that give a single stem
Arvid Grøtting writes:
That sounds like a job for \partcombine, see input/test/hymn.ly
Won't that give a single stem when the voices share a note head?
No, there's splitInterval just for that.
And
won't rests that exist in one voice only, be dropped?
No.
Traditionally in SATB (and TTBB)
Jan Nieuwenhuizen [EMAIL PROTECTED] writes:
That's just one application of the part combiner.
OK, so the only problem is how to apply the part combiner to this
case, then. I haven't found out how, yet, and I have read the fine
manual in several of its incantations.
Assuming I have \sopMusic,
[EMAIL PROTECTED] writes:
Arvid Grøtting writes:
That sounds like a job for \partcombine, see input/test/hymn.ly
Won't that give a single stem when the voices share a note head?
No, there's splitInterval just for that.
Yes, but unfortunately, that property does not work anymore with
I'm typesetting a book of college songs and came across some parts where two voices
are on a single staff and share rests.
I did some digging in the archives and found that this issue had been raised before:
Start Quote
On Friday, Oct 25, 2002, at 10:35 US/Eastern, Klaus Zimmermann
David Rogers wrote:
On Jul 28, 2004, at 9:09 AM, Ralph Little wrote:
Cut-common is often found in band parts and effectively doubles the
pace, at least that is my interpretation.
It all depends on the tempo markings, of course. It's quite possible to
have a slow 2/2. The real difference
with a C with a slash through.
Cut-common is often found in band parts and effectively doubles the
pace, at least that is my interpretation.
It halves the count. Why go farther than that?
A lot of American popular/dance music is/was written in cut time even
whether or not it is played in cut time
Two other annoyances (and in my mind they're UI blunders ...).
Practically every piece of music I've played that has letter rehearsal
marks DOES use the letter I. It's fine to have a default that doesn't,
you have a point there. The first part I checked this in (old BH)
does have the letter
Hi,
Yup, I agree with all of that.
My statement regarding increase in tempo is from experience of it's use
rather than any implied meaning.
In brass band parts we often see it used as a mechanism to double pace
from common time (and feel of pace, with it being 2 beats per bar), but
it is usually
spare time:
www.skelmanthorpeband.org
--
Man who shoot off mouth... expect to lose face.
-Original Message-
From: Ralph Little
Sent: 29 July 2004 10:05
To: 'David Rogers'
Cc: '[EMAIL PROTECTED]'
Subject: RE: Band parts - a newbie's view
Hi
.
Cut-common is often found in band parts and effectively doubles the
pace, at least that is my interpretation.
It halves the count. Why go farther than that?
Any other opinions?
Not on the facts. But I agree that the numbers should be the default,
and that common and cut should be required
[EMAIL PROTECTED] writes:
Two other annoyances (and in my mind they're UI blunders ...).
Practically every piece of music I've played that has letter rehearsal
marks DOES use the letter I. It's fine to have a default that doesn't,
you have a point there. The first part I checked this in
The other is, if I ask for a time signature of 3/4, that's what I
get. Or 9/8. Or 6/8. Or 5/4 or almost anything. But if I ask for
2/2 or 4/4, then that's what I DON'T get. Bad bad bad! If I want
common or cut-common, then I should be able to ask for that
directly. And in my experience
[EMAIL PROTECTED] wrote:
[EMAIL PROTECTED] writes:
Two other annoyances (and in my mind they're UI blunders ...).
Practically every piece of music I've played that has letter rehearsal
marks DOES use the letter I. It's fine to have a default that doesn't,
you have a point there. The
Hi,
Unless I'm mistaken, cut-common and common-time are actually different
things.
Cut-common is the same as 2/2 not 4/4, whereas common-time and 4/4 are
the same thing.
Cut-common is usually represented with a C with a slash through.
Cut-common is often found in band parts and effectively
Hi,
On Wed, Jul 28, 2004 at 05:09:49PM +0100, Ralph Little wrote:
Unless I'm mistaken, cut-common and common-time are actually different
things.
Cut-common is the same as 2/2 not 4/4, whereas common-time and 4/4 are
the same thing.
I have also seen examples where common-time meant 4/2. I
On Jul 28, 2004, at 9:09 AM, Ralph Little wrote:
Cut-common is often found in band parts and effectively doubles the
pace, at least that is my interpretation.
It all depends on the tempo markings, of course. It's quite possible to
have a slow 2/2. The real difference is in the accents
- Begin Forwarded Message -
Envelope-to: [EMAIL PROTECTED]
Date: Tue, 27 Jul 2004 23:48:15 +0100
To: [EMAIL PROTECTED]
From: Anthony W. Youngman [EMAIL PROTECTED]
Subject: Band parts - a newbie's view
User-Agent: Turnpike/6.02-U (kadi9FnjOBL6XNAiRMnYuwUxdX)
Quick bio
...
I'll let a programmer answer this one, other than mentioning
lilypond-book
again.
Another annoying thing when trying to produce parts ... I've found that
putting time signatures, speed markings etc in a separate part is
great for getting timings right etc. Unfortunately, it seems that s
Thanks Ralph,
This seems very logical to me, and I have doing it this way since.
As for the dicussion referenced, not knowingly I have been using this already. all my
files include a standard header and then the parts add in their part of the header.
Cheers,
Joshua
=== At 2004-06-17, 18
Hi there,
The \score() in the parts files is triggering the individual part
output.
What I do (and most others I think) is put the parts (without \score)
into a notes file, and have separate files for parts and the score
generation.
E.g.
Notes.ly:
-
PartViolin
On Thursday 17 June 2004 12:25 am, Joshua Koo wrote:
Hi
I put each of my instrument notes is inside a separate file, so lets
say all cellos notes are inside cello.ly and violin notes are inside
violin.ly In each of these files, they have a \score{} so I can print
out the indiviual parts
Hi
I put each of my instrument notes is inside a separate file, so lets say all cellos
notes are inside cello.ly and violin notes are inside violin.ly
In each of these files, they have a \score{} so I can print out the indiviual parts.
Then I have a score.ly which have a huge staff which combine
Hello,
I'm beginner with lilypond and I've some (may be) small problems. This is
one:
Can I have more parts in one .ly file? I need write a score for choir and
orchestra and parts for individual instruments. I've written all instruments
and voices and header information. If I write more sections
Zbynk Burget wrote:
Hello,
I'm beginner with lilypond and I've some (may be) small problems. This is
one:
Can I have more parts in one .ly file? I need write a score for choir and
orchestra and parts for individual instruments. I've written all instruments
and voices and header information
[EMAIL PROTECTED] writes:
Hi,
Some time back I posted a question regarding how to introduce a
temporary ossia in an instrumental part for just a few bars on a
separate staff, and was messing with all kinds of things to achieve
this.
thanks, I've updated the ossia.ly example.
--
Han-Wen
On Sat, 13 Dec 2003 00:03:15 -0700
Paul Scott [EMAIL PROTECTED] wrote:
Will Oram wrote:
I didn't mention it explicitly in my last e-mail, but I am already
using one .ly file for each part.
Then what's not working? Can you post one of those files that doesn't work?
I think he didn't
Will Oram wrote:
I didn't mention it explicitly in my last e-mail, but I am already
using one .ly file for each part.
Then what's not working? Can you post one of those files that doesn't work?
Paul
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Ah, this works.
But, if I append \score { \theInstrument } to a given .ly file, the
resulting printed score ends up appended to the end of the orchestral
score PS/PDF. What for separating parts into separate outputs?
Thanks,
- Will
On Dec 13, 2003, at 2.07 AM, Graham Percival wrote:
On Sat
On Sat, 13 Dec 2003 02:36:18 -0500
Will Oram [EMAIL PROTECTED] wrote:
Ah, this works.
But, if I append \score { \theInstrument } to a given .ly file, the
resulting printed score ends up appended to the end of the orchestral
score PS/PDF. What for separating parts into separate outputs
The score I'm writing only generates one .pdf/.ps output, the
orchestral score. What do I need to add to churn out parts for each
instrument?
I just heard about sly now (still don't quite get it), so it might be
too late for that since everything's already written out.
The basic format of my
Will Oram wrote:
The score I'm writing only generates one .pdf/.ps output, the
orchestral score. What do I need to add to churn out parts for each
instrument?
I just heard about sly now (still don't quite get it), so it might be
too late for that since everything's already written out
rests so the flute,
etc. player can count their rests? It is typical of French
instrumental parts to put each pair of instruments on a score which
has two staves when the parts are different and one staff when the
two instruments play the same thing ( a2 ). This is common in
orchestral music
Paul Scott wrote:
With 1.8.1 on Debian unstable when I place a cue part simultaneous
with 'r1' for the instrument resting the whole rest is placed at the
beginning of the measure.
Duh! That's what r1 does. R1 works much better. Please ignore this
thread.
Paul
Always use R1 (or R2. or R2 if you are in 3/4 or 2/4, respectively) for
whole bar rests. This has nothing to do with cue parts.
/Mats
Paul Scott wrote:
With 1.8.1 on Debian unstable when I place a cue part simultaneous with
'r1' for the instrument resting the whole rest is placed
Hi Guys,
I'm trying to write a ViolinI part which has a solo on a separate staff.
My problem is that when there are no extra staffs, Lilypond adds a
bar-line to the beginning of that staff System. Which grob do I need to
tune so that these bar-lines don't appear when I only have staff/system?
You are right, I must be blind. I leave the decision to include this
patch in 1.7.30 to the main authors.
/Mats
Frédéric Bron wrote:
The only related mail I could find in the archives was
http://mail.gnu.org/archive/html/lilypond-user/2002-07/msg00120.html
but that patch has been included long
Correction: Only on the third system of the second movement.
--
Fabio dos Santos [EMAIL PROTECTED]
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The only related mail I could find in the archives was
http://mail.gnu.org/archive/html/lilypond-user/2002-07/msg00120.html
but that patch has been included long before the 1.6.x versions.
I wouldn't recommend to use paper11 anyway since grace notes, for
example, will be too large as well. If you
The only related mail I could find in the archives was
http://mail.gnu.org/archive/html/lilypond-user/2002-07/msg00120.html
but that patch has been included long before the 1.6.x versions.
It is the one I was looking for ! But I can assure you that the font.scm
in 1.6.11 does not match to this
[EMAIL PROTECTED] writes:
Looks like a bug to me! The same happens in version 1.7.30.
I tried changing the visibility of both the bar lines and
the span bar lines but nothing changes.
Of course not, the lines at the start are SystemStartDElimiters.
But it is a bug, which I have fixed in 1.7
. . .
Thanks!
Fabio.
Em Ter, 2003-08-05 às 10:36, Mats Bengtsson escreveu:
Did you use the built-in support for Frenched scores?
This is described in the reference manual, but the naming
has changed between versions:
In version 1.6.x, look for Hara kiri staves in the section
Writing parts
-- Forwarded Message --
Subject: Re: slash noteheads for rhythm parts
Date: Sun, 6 Jul 2003 22:00:49 +0200
From: Amelie Zapf [EMAIL PROTECTED]
To: Rick Sutphin [EMAIL PROTECTED]
Hi Rick,
insert this portion into your .ly file:
sl = {
\property Voice.NoteHead
The whole file is rather a lot to read, so here is a file containing
four brass parts only which exhibits the same behavior.
One more thing I came across since my last email -- when the first part
has a solo and the other three parts have multi-measure rests, the
combined staff prints
Aha! I thought I had tried that, but I had not explicitly specified the
voice context for the individual parts... so I added that and it is much
better now. Thanks, Jeremy!
One thing I do notice is that I get multiple dynamic markings on the
staff with the combined voices. But since
NP One thing I do notice is that I get multiple dynamic markings on the
NP staff with the combined voices. But since I'm the only one who will see
NP the score, I can live with that.
Would you care to send the .ly source file as an attachment to this
list?
Jeremy
(for the conductor) when combining parts but there should be an option
to write only once dynamic that should appear exactly at the same place.
Otherwise, they are written one over the other slightly shifted.
Frédéric
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FB This is a problem for me. We can save a lot of space on the full score
FB (for the conductor) when combining parts but there should be an option
FB to write only once dynamic that should appear exactly at the same place.
FB Otherwise, they are written one over the other slightly shifted
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