Michael,
Sorry to pipe in so late in this conversation, but have you seen what's
going on at http://fonts.openlilylib.org? Your LilyJAZZ code, etc. is
from the original files, but I've taken them a step further, making it
easier to change music fonts.You might want to update your LilyJAZZ
stuff from there.
Let me know if I can help in any other way.
Happy Engraving,
Abraham
On Mon, Mar 2, 2015 at 11:57 PM, Michael Hendry [via Lilypond]
<ml-node+s1069038n172524...@n5.nabble.com> wrote:
>
>> On 3 Mar 2015, at 05:58, Flaming Hakama by Elaine <[hidden email]>
>> wrote:
>>
>> %{
>>
>> > Date: Mon, 2 Mar 2015 16:40:27 +0000
>> > From: Michael Hendry <[hidden email]>
>> > Subject: String Concatenation, and Use of Unicode characters
>> >
>> > Typically, I want PDF output in three files, (Concert pitch, Bb
>> and Eb), and I would like to modularise this as much as possible.
>>
>> You will enjoy
>> #(define output-suffix "Instrument”)
>
> Certainly did! Thanks.
>
>>
>>
>> > 2. The LilyJazzText font uses small capitals instead of lower case
>> > letters, so using ?Eb? produces a capital E followed by a small
>> > capital B. On my Mac I know how to produce a flat sign, and
>> LilyPond
>> > will use the flat sign from another font, but I?d like to be able
>> to
>> > define a flat sign as a variable, and append it to the piece
>> markup
>> > when creating the books for trumpet and alto.
>>
>> There is something called \flat. I took out the references to
>> LilyJAZZ just to demonstrate, it should work regardless of font and
>> I didn't have the .ily file handy.
>
> That certainly helped. I’m being fussy now, but there’s
> unnecessary white-space between the “E” and the “b”. Also, I
> want the “Alto Sax in Eb” in a smaller font, and the \flat is
> bigger than I want it.
>
>>
>>
>>
>> Forgive me for suggesting, but I suggest it improves mental health
>> to think of transpose in the form:
>>
>> \transpose "to" "from" \musicExpression
>
> I used to think of the transposition in this way until I found a need
> to transpose the whole piece to a different key (to accommodate a
> singer’s range, for example), and I found the two ways of looking
> at transposition tied my brain in knots.
>
> Ideally, I’d like to define the whole-piece transposition at the
> top of the file, rather than editing the per-instrument transposition
> at the point of book production.
>
>>
>> So, Bb and Eb parts would be:
>>
>> \transpose bes, c \trumpetPartConcert
>> \transpose es, c \altoPartConcert
>>
>> instead of the cryptic:
>>
>> \transpose c d' \trumpetPartConcert
>> \transpose c a' \altoPartConcert
>>
>>
>> Also, I took out references to \jazzOn since it didn't compile.
>>
>>
>> >
>> > Thanks in advance,
>> >
>> > Michael Hendry
>>
>> Sure, I hope this helps.
>
> Very much so.
>
> I’ve attached my modified version of your code, along with the
> necessary include files and an example of the output. I like the
> informal look of the Jazz fonts, but I can still be obsessional about
> font-size mismatches!
>
> Michael
>
>
>
>
>
>
>
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>
> Trial.ly (1K) Download Attachment
> LilyJAZZ.ily (27K) Download Attachment
> AccordsJazzDefs.ly (9K) Download Attachment
> Trial-trumpet-Bb.pdf (38K) Download Attachment
>
>
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