I believe Trevor showed how to make the change global in another
response to your email.
The nicest way to do dynamics and the crescendo and decrescendo would be
to use the piano-centered-dynamics template and put the dynamics in a
separate voice.
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Piano-templates#Piano-templates
A quick way to add them to your code is to add a skip voice to the bass
staff with the dynamic markings attached to skips. They'll need some
adjustments for positioning. I suspect that the reason your hairpins
weren't rendered is that they were started but not finished. A hairpin
begins with \< and needs to be stopped either with a dynamic marking
(like \mf or something) or with \!.
Try this version of your lowerStaff code:
lowerStaff = \relative c {
\clef bass \key as \minor \time 2/4
<<
{ as2 | as }
\\
{ s4^\< s8 s16 s16\! | s4^\> s8 s16 s16\! }
>>
}
This will put the hairpins in, but the positioning doesn't look nearly
as nice as you'll get using the piano centered dynamics template. I
would also recommend upgrading to the development version of Lilypond :)
Jon
Helge Kruse wrote:
Thanks for reply. I didnt found in the documentation how long the
fingeringOrientations are active. I expected they are global from the
point they occure. But it looks like they are reset, when I open a new
voice.
I have another question with the example. I want to add dynamics. I
already added the \p (piano). But I also need an \< (crescendo) and \>
(descrescendo) in the first and second measure respectively. But I never
got any dynamics except the piano. Can you say me how to do?
Best regards,
Helge
----- Original Message ----- From: "Jonathan Kulp" <[EMAIL PROTECTED]>
To: "Helge Kruse" <[EMAIL PROTECTED]>
Cc: "Lilypond-User" <LILYPOND-USER@gnu.org>
Sent: Tuesday, October 28, 2008 11:54 AM
Subject: Re: fingering orientation
It looks as though the command to set fingeringOrientations was not
affecting the lower voice when you created multiple voices using <<{
\\ }>>. If you put the \set fingeringOrientations command inside the
{} of the voice that actually contains the fingerings, then you get
the orientation you want. This, however, makes the spacing messy as
there's a documented bug having to do with the spacing of fingerings
to the left of arpeggios. Here's the working code (with the buggy
spacing):
\version "2.11.62"
\include "deutsch.ly"
upperStaff = \relative c' {
\clef treble \key as \minor \time 2/4
\repeat volta 2 {
\set fingeringOrientations = #'(left)
<ces-4 es-3 ces'-1>4(\p^"Andante" <ces es ces'>) |
<<
{ b'\arpeggio( as) }
\\
{ \set fingeringOrientations = #'(left) <ces,-4 es-3>2\arpeggio }
>> |
}
}
lowerStaff = \relative c {
\clef bass \key as \minor \time 2/4
as | as
}
\book {
\score {
\context PianoStaff <<
\set PianoStaff.connectArpeggios = ##t
\context Staff = upper \upperStaff
\context Staff = lower \lowerStaff
>>
\layout { }
}
}
Hope that helps,
Jon
Helge Kruse wrote:
Hello,
I write a piece for harp. I need sometimes fingering information for
the player.
While sometimes fingering above the staff is ok, I need it at the
left side under some circumstances. In the example I want to write
the fingering number for the notes "ces" and "es" at the left side of
the arpeggio, but I did not succeed.
How can I achieve this request?
Best regards,
Helge
------------------------------------------------------------------------
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--
Jonathan Kulp
http://www.jonathankulp.com
_______________________________________________
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--
Jonathan Kulp
http://www.jonathankulp.com
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