[EMAIL PROTECTED] writes:
> ...
> << \context Voice = melody {\voiceOne f g} \\ { \voiceTwo d e } >>
> \oneVoice r4 ...}
>
> or
>
> \context Voice = melody {
> ...
> << {\voiceOne f g} \new Voice {\voiceTwo d e } >> \oneVoice r4 ...}
>
> or to exploit that the Voice contexts created by <<{...}
P Scott Horne wrote:
In a song with a short polyphonic section at the end, I wrote something like
this:
<< { f g } \\ { d e } >> r4 << { a b } \\ { f g } >>
It worked as expected, giving a single rest appropriately centred on the
staff. This approach seemed more sensible than defining s
