On 7/26/07, Siska Ádám <address@hidden> wrote:
Hello,
actually, that was the first thing I checked. My problem is that if I do
what was described there, I get separate barlines for the whole
movement. I only need at about 2 measures with separate barlines, the
rest should have the same time signature and barline.
I try to put here in some kind of plain text that part of the piece
(without shars and flats to see better what's going on):
| gagabgabgabgabg | abca |: gabca :| (*17)
| agabgabgabgabga | bacba |: gabacba :| (*12)
| gabgabgabgabgab | cgabc |: gabc :| (*21)
As you can see, in the first bar, the barlines are at the same time in
every staff, so they must be connected. The begin-repeat barlines are at
different times, so they shouldn't be connected with each other.
Finally, the ending barlines occur at the same time. (There are 17*5 =
85 notes in the first staff inside the repeat, while there are 7 * 12 =
4 * 21 = 84 notes inside the repeats of the other two staves. If you
take in account that the repeat block in the first staff begins one note
prior to the repeat blocks of the other staves, you'll see that the
ending barlines occur at the same time).
Now, I have to invent something to engrave this.......
Hm... If you have to do it manually, do you know about the difference
between the Bar and SpanBar grobs? The SpanBar is the element that
goes *between* (but not *through) the staves. And you can dynamically
hide (and show) the SpanBars at any point using something like \once
\override SpanBar #'transparent = ##t. I think the SpanBar lives in a
relaitvely high-level context, so you might have to say Score.SpanBar
or something to make it work.
Try running a small test to see how that works.
You can also add bars at any point with \bar "|" if you do have to go
the manual route.