To reply to myself, I did find a usable workaround using \mark \markup {
\fontsize #-2 \musicglyph "scripts.coda" } but that seems ungainly. But
perhaps it’s the best that can be managed.
> On May 17, 2025, at 10:46 AM, tim...@bitstream.net via LilyPond user
> discussion <lilypond-user@gnu.org> wrote:
>
> For jazz lead sheets, I frequently want to place a coda at the beginning of a
> line following a \break, centered over the barline (which may be implied
> unless the line begins with a repeat barline). I use manual breaks to force
> four bars to the line for readability. Getting the coda glyph in the right
> place has been difficult throughout my use of Lilypond.
>
> With a manual line break, \codaMark insists on placing the coda glyph at the
> end of the bar- which works well when the reader is being referred to a coda
> down the page. However, when placing the glyph at the start of the coda
> itself on a new line following a \break, \codaMark places it at the end of
> the previous line. This is visually confusing. My solution has been to just
> write the coda mark in by hand on all the charts in order to have it in the
> logical place. If I don’t use \break, it’s less of an issue but then I end
> up with odd numbers of bars on some lines, reducing the regularity and
> readability of the chart.
>
> Using \coda instead of \codaMark places the glyph above the first beat of the
> bar instead of the barline, which is often tolerable but it forces chord
> names and tuplet brackets vertically up and away from the staff, looking
> weird. The workaround is the same- omit it and write it in by hand on the
> paper. This is not useable when dealing with musicians using tablets instead
> of sheafs of paper, as is now normal in the 21st century, so I’d like to
> figure out how to get it done in Lilypond. There is probably- as usual- some
> simple and basic concept I am not understanding (as a musician with very
> little background in computer languages).
>
> Thanks!
>
