Greetings, fellow users!
With the advent of the new music fonts and the accompanying website, I
just thought I'd open up this thread to any feedback anyone has about
the fonts and ANYTHING related to them. I think it would also be neat
for users to also share success stories from using them. I
(edit: forgot to reply to list)
I have had the chance to throw some different scores in front of a few
players. They all seemed to prefer the Profondo font, curiously enough
stating that it looked the most modern.
My favorite is the Scorlatti font which is just brilliant. Thank you for
your hard
with Haydn :-)
You rock!
On 10/09/2014 11:01 AM, lilypond-user-requ...@gnu.org wrote:
Feedback Request for Music Fonts
--
"There is only love, and then oblivion. Love is all we have
to set against hatred." (paraphrased) Ian McEwan
Guy Stalnaker
Hi Abraham,
2014-10-09 15:39 GMT+02:00 Abraham Lee :
> I just thought I'd open up this thread to any feedback anyone has about
> the fonts and ANYTHING related to them.
>
Just one question.
For each font you add this note : "You'll need to add the argument if you
are working at staff-height ot
Oupps, send by mistake...
So my question was, why not adding #:factor (/ staff-height pt 20)by
default and delete these notes ?
2014-10-10 9:05 GMT+02:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:
> Hi Abraham,
>
> 2014-10-09 15:39 GMT+02:00 Abraham Lee :
>
>
>> I just thought I'
That's a valid question. I debated that, but I guess the real question is do we
tend to engrave more often at a staff-height other than the default 20pt? If
so, then you are probably right. The truth is, this is exactly what I did in
the font style sheets, so maybe I should do that on the web pa
total). And you have a compliment from a
> non-LP/Frescobaldi user. The director of my church's chancel choir
> specifically mentioned the beauty and legibility of a score I engraved with
> Haydn :-)
>
> You rock!
>
>> On 10/09/2014 11:01 AM, lilypond-user-requ...
Scott,
Very interesting... If they're used to Finale's output, then this isn't too
surprising, since Finale's Maestro font and Profondo are based on the same
glyph set, only Profondo is a heavier version.
And I'm glad you like Scorlatti! Care to share any of your recent works with it?
Regards
Stan,
I hope you are right. Hopefully this will open more doors and help make
LilyPond more commercially appealing ;)
Do you have any scores that you would be willing to share that uses a font you
like?
Regards,
Abraham
Sent from my iPhone
> On Oct 9, 2014, at 9:47 AM, Stan Sanderson wrote:
Hi Abraham,
Am 10.10.2014 um 12:17 schrieb Abraham Lee:
> do we tend to engrave more often at a staff-height other than the
> default 20pt?
I would say: yes. I use a variety of staff sizes, usually between 16 and
20. Especially for songs and choir scores 20 is a bit too large, imo.
Just for me t
On Fri, Oct 10, 2014 at 6:23 AM, Abraham Lee wrote:
>
> And I'm glad you like Scorlatti! Care to share any of your recent works
> with it?
>
Here is a Scorlatti font example with your style sheet (voice and string
quartet):
http://scottmillercomposer.com/scores/britten/
And I have a recording!
Dear Abraham,
the possibility to switch fonts is just great. Thank you! I have to
admit that I really like the default Emmentaler font (it is carefully
designed and I am used to it). Some follow up thoughts:
- Polskie Wydawnictwo Muzyc music font
As you are often asking for scores with a nice fon
Noeck,
On Fri, Oct 10, 2014 at 6:14 PM, Noeck wrote:
- Polskie Wydawnictwo Muzyc music font
As you are often asking for scores with a nice font, I recently found
scores printed by the Polish publisher Polskie Wydawnictwo Muzyc
(PWM).
This is the only scan, I found in the same style:
http://j
Hi Abraham,
thanks for your reply.
>> Does your machinery allow to take these numbers
>> from Bravura for example and put it in a normal text font?
>
> By default, the tuplet numbers come from whatever is set to be the
> \roman font.
\version "2.19.14"
\transpose c c'
{
% default (Century Sc
Joram,
On Sun, Oct 12, 2014 at 10:04 AM, Noeck wrote:
Hi Abraham,
thanks for your reply.
\version "2.19.14"
\transpose c c'
{
% default (Century Schoolbook)
\tuplet 3/2 { a8 a a }
% bold (Century Schoolbook) - closer to Bravura
\override TupletNumber.font-series = #'bold
\tuplet 3/
Joram,
Here's the tuplet number font file. See what you think! Install it like
a normal font and then you can do this:
\transpose c c'
{
% default (Century Schoolbook)
\tuplet 3/2 { a8 a a }
% bold (Century Schoolbook) - closer to Bravura
\override TupletNumber.font-series = #'bold
\tuple
On Mon, Oct 13, 2014 at 2:01 AM, Martin Tarenskeen
wrote:
Hi,
When I use the LilyJAZZ fonts and style, the ' is missing in titles
and texts. I don't mind if not every exotic unicode character in the
world is supported in every font, but in this case it's difficult to
find Jazz titles and ly
On Mon, Oct 13, 2014 at 11:05 AM, Abraham Lee
wrote:
On Mon, Oct 13, 2014 at 2:01 AM, Martin Tarenskeen
wrote:
Hi,
When I use the LilyJAZZ fonts and style, the ' is missing in titles
and texts. I don't mind if not every exotic unicode character in the
world is supported in every font, but
Hi Abraham,
thanks for all your efforts to help here. Thanks for your font file. I
didn’t say it before, but the tuplet number was just a first test. My
aim was to imitate all the Bravura style consistently (including bass
figure numbers, analysis numbers and symbols etc. – everything that is
not
Hi Abraham,
I have another topic or question:
Is it possible to switch the music font for a staff or even a measure
with your approach? Or does it only work in the \paper environment.
It would be cool for comparisons of fonts in the same file like here
(using oll):
\version "2.18.0"
\include "
Joram,
On Mon, Oct 13, 2014 at 4:14 PM, Noeck wrote:
Is it possible to switch the music font for a staff or even a measure
with your approach? Or does it only work in the \paper environment.
It would be cool for comparisons of fonts in the same file like here
(using oll):
\version "2.18.0"
Hi Abraham,
> YES!, this can be done quite easily. As I explained on my personal
> website (the link is found near the bottom of fonts.openlilylib.org),
>
> https://sites.google.com/site/tisimst/Home/custom-font-how-to#localized-font-changes
>
That's great! That's what I meant for this kind of
Abraham,
How wonderful it was to experiment with these new fonts.
In particular, I enjoyed the documentation. It was exceptionally clear how
to use them (including the 2.18 patch, though I ended up upgrading to 2.19
anyway.) The .ily files that demonstrated the fine tuning were really
helpful a
Am 2014-10-20 um 23:02 schrieb Abraham Lee :
> Personally, I agree with your comment about LilyJAZZ. While there is a
> certain personality behind it, I don't think I'd use it for a large score.
> However, I think there are lots of people who would, so that's cool! I've got
> another font done
Glad you like it! The snippet portrayed in the image is from a piece called
Nálada. You probably noticed it as an example score I've used to showcase some
other other fonts. I call this font "Improviso".
Regards,
Abraham
Sent from my iPhone
> On Oct 20, 2014, at 9:07 PM, Henning Hraban Ramm w
> The snippet portrayed in the image is from a piece called
> Nálada. You probably noticed it as an example score I've used to
> showcase some other other fonts. I call this font "Improviso".
In case it's a font intended for songbooks, you might call it
`Lalala' :-)
Werner
_
Well, I can't say that it was intended for any particular purpose, other than
to look like a hand copyist's writing, but that was clever!
Regards,
Abraham
Sent from my iPhone
> On Oct 20, 2014, at 9:58 PM, Werner LEMBERG wrote:
>
>
>> The snippet portrayed in the image is from a piece called
Am 20.10.2014 19:02, schrieb Abraham Lee:
I've got another font done that looks more like a hand-copyist
style--very consistent, not extravagant or embellished like LilyJAZZ,
designed for clarity. I've attached a small sample image to give you a
taste of what I mean :)
That's an excellent co
Hi Urs,
> That's an excellent complement to your already impressive collection of
> fonts. I can't stress enough how this should be able to increase LilyPond's
> acceptance on the long run!
+1 x 2
BTW: I don’t think I saw a response from you about Abraham’s Henle example
(http://fonts.openlil
Am 21.10.2014 12:59, schrieb Kieren MacMillan:
Hi Urs,
That's an excellent complement to your already impressive collection of fonts.
I can't stress enough how this should be able to increase LilyPond's acceptance
on the long run!
+1 x 2
BTW: I don’t think I saw a response from you about A
All,
It was brought to my attention that there were some printing issues
with the Beethoven font (white spots would appear at certain
overlapping lines). These are now fixed and updated on
fonts.openlilylib.org. I have also added .WOFF font files, though I'm
not really sure how to use them,
Could you please send me (directly) an updated example so I can forward it?
Thanks
Urs
Am 22. Oktober 2014 18:33:45 MESZ, schrieb Abraham Lee
:
>All,
>
>
>It was brought to my attention that there were some printing issues
>with the Beethoven font (white spots would appear at certain
>overlapp
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