\version "2.16.0" %{ Put some music in a variable. If you don't understand this please read http://www.lilypond.org/doc/v2.16/Documentation/learning/organizing-pieces-with-variables %} myMusic = \relative c' { \repeat unfold 64 { c8 e g e } } %{ This is a variable containing our line break structure but no music. Note the use of spacer rests. We have four invisible whole measure rests (in 4/4) followed by a line break. This is repeated 9 times so we have nine lines of four measures each. (This is intentionally longer than \myMusic) Of course you can adapt the contents of this variable to the real structure of your piece (also containing time signature changes of course). And this variable could also be a place to put other general information such as rehearsal marks, tempo changes etc. %} myBreaks = { \repeat unfold 9 { s1*4 \break } } %{ In the score we have one Staff context. The '<< >>' signals that we have parallel musical expressions so \myMusic and \myBreaks are interpreted as two parallel voices in one Staff (with one of them containing no visual music but only the breaks). You can see that the remaining measures in myBreaks keep the Staff alive after myMusic finishes %} \markup "1) Two voices in one Staff" \score { \new Staff << \myMusic \myBreaks >> \layout{} } %{ In this score we put the two variables in two contexts: one Staff for the music and one Dynamics context for the breaks. The difference for the current example is that the remaining measures in myBreaks don't keep the Staff alive. But from the measure number 33 you can see that the Dynamics context is still alive. You should prefer this approach in a score with more than one Staff. Or if you put general information in it that you don't want to be printed within a single Staff (I use such a construct for performance indications, for example) %} \markup "2) Two individual contexts" \score { << \new Staff \myMusic \new Dynamics \myBreaks >> \layout{} }