Re: fonts.openlilylib.org is live!

[bart deruyter]

Wow,

this is fantastic. I just installed the latest development version,
downloaded the font files and set them in the right directories and voilà,
done.
It simply works :-p .

Congratz,

Bart

http://www.bartart3d.be/
On facebook 
On Twitter 
On Identi.ca 
On Google+ 

2014-09-11 7:06 GMT+02:00 Abraham Lee :

> On Wed, Sep 10, 2014 at 9:06 PM, Shane Brandes 
> wrote:
>
> I fiddled around with making one a while back but thought the system was
> to oddball to be handily useful at the time and that was several releases
> ago. I may work on one when the snows come again, probably for an earlier
> printing era. Shane
>
>
> Shane,
>
> If you'd like to send me something you've done, I can help get the font
> working for you. It's kind of a complicated process, as you so mentioned,
> but I've been able to streamline the font creation process so it's not much
> effort for me as long as I have a normal font file to work with. I can put
> the glyphs in the right places as long as they are the scaled to be the
> correct size (250 em-unit staff space, 0=lowest staff line, 1000=highest
> staff line). Let me know if I can help at all.
>
> Regards,
> Abraham
>
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Re: fonts.openlilylib.org is live!

[Martin Tarenskeen]

Hi,

Once I have more time I will definitely try the new fonts. It's an 
interesting project and addition to the power of LilyPond.


But I hope this will not change the goal of LilyPond development in the 
future from "How can we produce the best looking scores with as little 
tweaks as possible, using LilyPond's default fonts and typesetting engine" 
to "How can we make LilyPond's output look identical to Edition X (Henle, 
Peters, Schott, Boosey&Hawkes ...) or software XYZ (Finale, Sibelius, 
Score ...)


Wouldn't it be fun if Finale/Sibelius users or major publishers one day 
would start to ask: "How can we make our scores look like LilyPond 
scores?"


--

MT

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Re: fonts.openlilylib.org is live!

[Martin Tarenskeen]

On Wed, 10 Sep 2014, tisimst wrote:


Paul Morris wrote

Looks good Abraham!  Nice work.

Here's a little feature request for the website: it would be nice to be
able to see a visual overview of all the different fonts -- where you can
see the example images from each font all on the same page, "back-to-back"
for easy visual comparison.

Thanks for all your work on this!

Cheers,
-Paul


Done. Thanks for the suggestion!


Maybe can also add an image showing the example with the default 
unmodified LilyPond font and output. That would make the visual comparison 
complete.


--

MT



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Re: settings to get closer to Sibelius

[Phil Burfitt]

- Original Message - 
From: "MarcM" 

To: 
Sent: Thursday, September 11, 2014 2:59 AM
Subject: settings to get closer to Sibelius




I am trying to get a friend -- a sibelius user --  move to Lilypond.
I am getting closer to make him like the output. He likes the reduced 
amount

but still prefers the lighter output of Sibelius where as you can see:
1) most lines are thinner :
   a) the upbow,
   b) the note stem
   c) the measure bar
   d) the beam
2) the fingering numbers are not bold
3) the slur in the 2nd measure goes around the notes and really shows that
all notes are slurred



Anyone has already created a stylesheet to tweak similar settings?

My findings so far:


1) most lines are thinner :
   a) the upbow,

I found how to change the font size but not the thickness.

ub = #(let ((m (make-articulation "upbow")))
  (set! (ly:music-property m 'tweaks)
(acons 'font-size -2
   (ly:music-property m 'tweaks)))
  m)



   b) the note stem
   => \override Staff.Stem #'thickness = #1.0% default is 1.3,

   c) the measure bar line
   =>  \override Staff.BarLine #'hair-thickness = #0.5

   d) the beam
   => \override Beam.beam-thickness  = #0.4  % 0.48 is default thickness


2) the fingering numbers are not bold
=> how to change the default?

3) the slur in the 2nd measure goes around the notes and really shows that
all notes are slurred
=> I am aware of the shape function to avoid collisions. But in this 
example

this isn't a collision and wonder if there is a way to change the default
shape ?






For 2). I use...

\override Score.Fingering.font-encoding = #'latin1
\override Score.Fingering.font-size = #-3.5


hth
Phil.



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Re: settings to get closer to Sibelius

[karl]

MarcM:
> I am trying to get a friend -- a sibelius user --  move to Lilypond.
> I am getting closer to make him like the output. He likes the reduced amount
> but still prefers the lighter output of Sibelius where as you can see:
> 1) most lines are thinner : 
> a) the upbow, 
> b) the note stem
> c) the measure bar
> d) the beam
> 2) the fingering numbers are not bold
> 3) the slur in the 2nd measure goes around the notes and really shows that
> all notes are slurred

Not an answer to your question, but tell your friend that the lighter 
style makes it harder to read in low light condition, especially for 
older people, to the point, for vocal scores, that the text becomes
unreadable. My recommendation is to have it thicker.
 Let him, or an older friend, try to read it in low light, and then
decide which one to use.

Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Fraction with no line

[Jayaratna]

Dear lilyexperts,,

is there a function for a fraction without a separation line to be used in
\markup?

Something like:
\markup { \fractionwithnohline 21 5 }  


Thank you,
A



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Re: settings to get closer to Sibelius

[Urs Liska]

Am 11.09.2014 11:12, schrieb k...@aspodata.se:

MarcM:

I am trying to get a friend -- a sibelius user --  move to Lilypond.
I am getting closer to make him like the output. He likes the reduced amount
but still prefers the lighter output of Sibelius where as you can see:
1) most lines are thinner :
 a) the upbow,
 b) the note stem
 c) the measure bar
 d) the beam
2) the fingering numbers are not bold
3) the slur in the 2nd measure goes around the notes and really shows that
all notes are slurred

Not an answer to your question, but tell your friend that the lighter
style makes it harder to read in low light condition, especially for
older people, to the point, for vocal scores, that the text becomes
unreadable. My recommendation is to have it thicker.
  Let him, or an older friend, try to read it in low light, and then
decide which one to use.


An addition to that comment: I have more than once re-entered music I 
had to play in orchestra conditions with LilyPond *because it was much 
better to read*.


Best
Urs



Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Re: fonts.openlilylib.org is live!

[Urs Liska]

Am 11.09.2014 01:14, schrieb tisimst:

tisimst wrote

Thanks, Peter! I realized shortly after posting this that there are a
bunch of other things that I forgot to update a bunch of other things, so
I'm taking the page off for a day or so until I've had a chance to go
through everything. Sorry! Stay tuned!

Ok, I think I've got all the bugs worked out and everything corrected.
Thanks for everyone's patience while I put this together. It's a simple
website, but hopefully helpful. Enjoy the new music fonts! The site is now
live at  fonts.openlilylib.org   .

Again, if you find a broken link, or whatever, please let me know so that I
can correct it promptly! Thanks, in advance for your help and support!

Regards,
Abraham
.:| Leigh Verlag |:.



I have written a preliminary script that simplifies the "installation" 
of the fonts using symbolic links instead of copying the files, which 
makes it more straightforward to use them on parallel installations or 
to repeat the installations for newer LilyPond versions.


You can find it at
https://github.com/openlilylib/openlilylib/tree/master/fonts

Currently it only works "for me", that is either with downloaded Linux 
versions and custom builds. The limitation is due to the different 
directory structures between systems.
Mac support should be trivial, only slightly less trivial supporting 
versions from Linux package managers.
I don't know about Windows and how to implement the same thing in Python 
there.


I'd be happy about improvements to make the script more widely usable.

Best
Urs

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Re: Fraction with no line

[Thomas Morley]

2014-09-11 11:17 GMT+02:00 Jayaratna :
> Dear lilyexperts,,
>
> is there a function for a fraction without a separation line to be used in
> \markup?
>
> Something like:
> \markup { \fractionwithnohline 21 5 }
>
>
> Thank you,
> A

#(define-markup-command (fraction-with-no-line layout props arg1 arg2)
  (markup? markup?)
  #:category other
  #:properties ((font-size 0))
  (let* ((m1 (interpret-markup layout props arg1))
 (m2 (interpret-markup layout props arg2))
 (factor (magstep font-size))
 (padding (* factor 0.2))
 (baseline (* factor 0.6))
 (offset (* factor 0.75)))
(set! m1 (ly:stencil-aligned-to m1 X CENTER))
(set! m2 (ly:stencil-aligned-to m2 X CENTER))
(let* ((stack (stack-lines DOWN padding baseline (list m1 m2
  (set! stack
(ly:stencil-aligned-to stack Y CENTER))
  (set! stack
(ly:stencil-aligned-to stack X LEFT))
  ;; should have EX dimension
  ;; empirical anyway
  (ly:stencil-translate-axis stack offset Y

\markup { \fraction-with-no-line 21 5 }



Though, why not use \center-column with adjusted baseline-skip, etc?


Cheers,
  Harm

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Re: Fraction with no line

[Pierre Perol-Schneider]

Hi Jay,

2014-09-11 11:17 GMT+02:00 Jayaratna :


> Something like:
> \markup { \fractionwithnohline 21 5 }
>

Try :

\version "2.18.2"

#(define-markup-command (fractionWithNoHline layout props num den)
  (markup? markup?)
  (interpret-markup layout props
(markup #:raise .5 (#:override (cons (quote baseline-skip) 1.7)
   (#:center-column (#:simple num #:simple den))

{
  a'4 ^\markup { "et voilà :" \fractionWithNoHline 21 5 }
}

see for more info :
http://www.lilypond.org/doc/v2.18/Documentation/extending/new-markup-command-definition

HTH,
Pierre
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Re: Fraction with no line

[Pierre Perol-Schneider]

Oups, 'seems that i was too slow...
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postscript point

[Martin Tarenskeen]

Hi,

I wanted to remove the indentation at the start of a score, and found

\paper {
  indent = 0\cm
}

in the manual. Wondering why to use \cm I soon discovered that it doesn't 
matter if I use 0\cm or 0\in or 0\pt or simply 0 without any unit. It all 
works. So now I use indent = 0



But my question is about something else. Reading NR 5.4.3 (Lilypond 2.18) 
I read: "points, 1/72.27 of an inch"


I have always learnt that a postscript point is defined as exactly 1/72 of 
an inch. Where does the (small) difference come from?


--

MT

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Re: Fraction with no line

[Jayaratna]

 

Thank you all for your nice answers, I wonder if I will ever be able to
program these codes so easily as you. 

This is the difference between the suggested codes. Which one would you use?

A



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Re: postscript point

[Henning Hraban Ramm]

Am 2014-09-11 um 16:44 schrieb Martin Tarenskeen :

> But my question is about something else. Reading NR 5.4.3 (Lilypond 2.18) I 
> read: "points, 1/72.27 of an inch"
> 
> I have always learnt that a postscript point is defined as exactly 1/72 of an 
> inch. Where does the (small) difference come from?

LilyPond, like TeX, uses traditional Didot points. Didn’t check, but you get PS 
points probably with \bp (big point).
Some of the few remnants of LilyPond’s previous TeX dependency.

Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)





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Re: postscript point

[Alexander Kobel]

On 09/11/2014 12:44 PM, Martin Tarenskeen wrote:

Hi,

I wanted to remove the indentation at the start of a score, and found

\paper {
   indent = 0\cm
}

in the manual. Wondering why to use \cm I soon discovered that it
doesn't matter if I use 0\cm or 0\in or 0\pt or simply 0 without any
unit. It all works. So now I use indent = 0


Hi Martin,

IIRC, if you leave out the unit, the number is interpreted as staff 
spaces (i.e., the vertical distance between two lines in a default 
staff).  Typically, that's not what you expect, so a lot of people got 
used to explicitly writing the unit even if it is not required for zero 
(anymore?).



But my question is about something else. Reading NR 5.4.3 (Lilypond
2.18) I read: "points, 1/72.27 of an inch"

I have always learnt that a postscript point is defined as exactly 1/72
of an inch. Where does the (small) difference come from?


It's the typographical point, which is defined as, well, 1/72.27 of an 
inch.  In contrast, the 1/72 inch (also called a DTP point, bigpoint or 
bp) was used as a simplification, but does not respect older typographic 
standards.  And yes, it became famous with PostScript, but that does not 
mean that applications using PostScript need to use it as an internal unit.
By the way, these definitions of pt and bp match those from TeX as well 
as other common DTP applications, vector graphics software and most word 
processors.

Also see:
  https://en.wikipedia.org/wiki/Point_(typography)


Best,
Alexander

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Re: show glissando between finger

[David Nalesnik]

Hi,

On Wed, Sep 10, 2014 at 7:41 PM, MarcM  wrote:

> thanks a lot Thomas and David.
>
> That's what i was able to achieve.
> <
> http://lilypond.1069038.n5.nabble.com/file/n166322/lilypond_%28top%29_-_sibelius_%28bottom%29.png
> >
>
>
Glad you found a use for this!

This solution is not ideal because it coopts Glissando.  I'm also noticing
that your original example shows a fingering slide with no initial number.
 I don't understand what that means, but if it's a common notation there
should be a way of doing that too.

I think that this might be the most current version of the file.

It's on my long to-do list to rewrite this so that we could have a separate
FingeringSlide grob.

--David
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Re: Fraction with no line

[Pierre Perol-Schneider]

2014-09-11 13:01 GMT+02:00 Jayaratna 


> This is the difference between the suggested codes. Which one would you
> use?
>

I'd say that Harm's fraction command's probably more elegant since he uses
pure scheme code and I do use lilypond shortcuts.
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Re: fonts.openlilylib.org is live!

[Abraham Lee]

On Thu, Sep 11, 2014 at 1:39 AM, Martin Tarenskeen 
 wrote:


Hi,

Once I have more time I will definitely try the new fonts. It's an 
interesting project and addition to the power of LilyPond.


But I hope this will not change the goal of LilyPond development in 
the future from "How can we produce the best looking scores with as 
little tweaks as possible, using LilyPond's default fonts and 
typesetting engine" to "How can we make LilyPond's output look 
identical to Edition X (Henle, Peters, Schott, Boosey&Hawkes ...) or 
software XYZ (Finale, Sibelius, Score ...)


Wouldn't it be fun if Finale/Sibelius users or major publishers one 
day would start to ask: "How can we make our scores look like 
LilyPond scores?"


--

MT



Martin,

I couldn't agree more. The main goal of LilyPond is and always will be 
just as you said it. Part of what I've heard, though, from my 
correspondence with others is the desire to use a different music font. 
It's as simple as that. I don't think that's such a bad thing. 
Emmentaler is fantastic, don't get me wrong. A ton of work has gone 
into it and it is, to this day, the only music font (at least available 
to the public) that supports true optical scaling. That is phenomenal! 

The only thing is this: let's say a publishing house really wanted to 
take the plunge and start using LilyPond for their engraving needs 
(which would be awesome). Up until now, there was just the one main 
style that EVERYONE would have to use. Nothing truly noticeable to make 
their scores stand out. I'd like to think that this opens more doors 
than changes the goals of LilyPond.


And BTW, I have to take my hat off to the developers of LilyPond. No 
matter what music font I throw at it, it still performs beautifully!


It is my sincere hope that people realize just how robust and flexible 
LilyPond is, combined with its already unmatched default output; that 
it can cater to the many different tastes people have and desire. I 
feel like having this font-switching capability should only encourage 
MORE people to try LilyPond out.


Just my thoughts on the matter. Maybe I'm off my rocker...

Regards,
Abraham
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Re: Reducing the spacing between ChordNames systems

[Richard Shann]

On Wed, 2014-09-10 at 17:26 -0700, Paul Morris wrote:
> Well, make that:
> 
> \paper {
>   system-system-spacing =
> #'((basic-distance . 0)
>(minimum-distance . 0)
>(padding . 0))
> }
> 

Thanks very much - this last code appears to be what is needed, indeed I
wonder now that I could have missed it (perhaps I tried it, but with
some typo - the error messages when you get this sort of thing wrong are
few and far between).
This works perfectly on my minimal example but throws up a strangeness
on a real-world example. With 10 systems I get two pages with a strange
gap beneath the titles.
However by putting

systems-per-page = #10

all is well.
I suspect a bug here, so I tried without success to pare this down to
find what is triggering this strange behavior, but FWIW I attach the
output and the source code - with that line commented out the ten
systems are placed on two pages with a large gap below the titles.
Perhaps someone will recognize the symptom of this large gap below the
titles and before the music?

Thanks for the help

Richard





> 
> 
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%% LilyPond file generated by Denemo version 1.1.9

%%http://www.gnu.org/software/denemo/

\version "2.18.0"

DenemoGlobalTranspose = #(define-music-function (parser location arg)(ly:music?) #{\transpose c c #arg #})
AutoBarline = {}
AutoEndMovementBarline = \bar "|."

\defineBarLine ":|]-RepeatEnd" #'(":|]" "" "")

\defineBarLine "[|:-RepeatStart" #'("||" "[|:" "")

\defineBarLine "||-Double" #'("||" "|" "")

\defineBarLine "|-Single" #'("|" "|" "")

\defineBarLine "|" #'("|" "|" "|")
BarRepeatEnd = \bar ":|]-RepeatEnd"
BarRepeatStart = \bar "[|:-RepeatStart"
BarDouble = \bar "||-Double"
BarSingle = \bar "|-Single"

#(define (conditional-string-downcase str condition)
  (if condition
  (string-downcase str)
  str))

#(define (denemo-chord-name->pop-markup pitch lowercase?)
  (let* ((alt (ly:pitch-alteration pitch)))
  (make-line-markup
(list
  (make-bold-markup (make-scale-markup '(0.5 . 1) (make-simple-markup 
   (conditional-string-downcase
(vector-ref #("C" "D" "E" "F" "G" "A" "B") (ly:pitch-notename
pitch))
lowercase?
  (if (= alt 0)
	(make-hspace-markup 1)
	(make-line-markup
(list
  (make-hspace-markup 0.1)
  (make-fontsize-markup -6 (make-raise-markup 5
 (alteration->text-accidental-markup alt))
#(define (denemo-chord-inv-name->pop-markup pitch lowercase?)
  (let* ((alt (ly:pitch-alteration pitch)))
  (make-line-markup
(list
  (make-bold-markup (make-scale-markup '(0.5 . 1) (make-simple-markup 
   (conditional-string-downcase
(vector-ref #("C" "D" "E" "F" "G" "A" "B") (ly:pitch-notename
pitch))
lowercase?
  (if (= alt 0)
(make-line-markup (list empty-markup))
  (make-line-markup
(list
  (make-hspace-markup 0.1)
  (make-fontsize-markup -4 
 (alteration->text-accidental-markup alt)   

%{
#(set! paper-alist (cons '("a4" . (cons (* 8 in) (* 12 in))) paper-alist))
%}
\paper {
  #(set-paper-size "a4")

  system-system-spacing =
#'((basic-distance . 4)
   (minimum-distance . 4)
   (padding . 4))


  %systems-per-page = #10

}




  
% The music follows

MvmntIVoiceI = {
 1\AutoBarline
 ^\markup\scale #'(0.4 . 0.6) \bold  \raise #-1 {\hspace #-1 m}\AutoBarline
 1\AutoBarline
 ^\markup\scale #'(.4 . .6) \bold \raise #-1 {\hspace #-1 6} \AutoBarline
%5
 1^\markup\scale #'(.4 . .6) \bold \raise #-1 {\hspace #-1 -7} \AutoBarline
 1^\markup\scale #'(0.4 . 0.6) \bold  \raise #-1 {\hspace #-1 m6} \AutoBarline
 1^\markup\scale #'(0.6 . 0.8) \bold \raise #-1 {\hspace #-1  ø } \AutoBarline
 1^\markup\scale #'(0.4 . 0.6) \bold \raise #-1 {\hspace #-1  9 \scale #'(0.8 . 1) sus } \AutoBarline
 1^\markup\scale #'(.4 . .6) \bold \override #'(thickness . 0.8)  {\hspace #-1  \triangle ##f } \AutoBarline
%10
 1^\markup\scale #'(.4 . .6) \bold \raise #-1 {\hspace #-1 9} \AutoBarline
 1\AutoBarline
 \AutoBarline
  \AutoEndMovementBarline
}



\addQuote "Unnamed Mvmnt 1" \MvmntIVoiceI


MvmntIIVoiceI = {
   %{/home/rshann/musicScores/dom/They Can't Take in F ( v2).pdf:63:159:0%}  \bar "|" 2 \AutoBarline
 \once \override MultiMeasureRest #'extra-offset = #'(0 . -1)  \override MultiMeasureRest #'stencil  = #ly:multi-measure-rest::percent  \override MultiMeasureRest #'thickness = #0.48 R1*4/4\AutoBarline
  

Re: fonts.openlilylib.org is live!

[Abraham Lee]

On Thu, Sep 11, 2014 at 3:29 AM, Urs Liska  wrote:

Hi Abraham,

great that it has come to that point, congratulations.
At a time we'll surely try out the effect on our new _big_ Oskar 
Fried score :-)
I'm at least very interested how it will come out with Cadence, but 
for a dense orchestral score it may also be interesting to use Haydn 
(I liked the Bach examples very much).


A few (minor) comments:

The new overview comparison is very useful indeed. But I'd suggest 
starting this with an image of LilyPond's default output (with a link 
to the full-size image, but no detail page).


I think it would be a good idea to replace the full-size PNG files 
with PDFs. You want people to be interested in detail, don't you? 
Then PDFs would allow them to look really close.


In the patch installation you could (re-) add a note about making a 
backup of font.scm.


As for the font installation I think you should add a small note that 
the patch and/or font installation is only valid for exactly that 
installation, and that one has to repeat it for any new installation 
(I don't know what a Linux package manager would do with the extra 
fonts - maybe they would be left untouched).


I have written a script that will "install" the fonts using symbolic 
links. Instead of copying the font files in each parallel LilyPond 
installation (and I have many) they are stored in one place and 
linked into the respective font directories. It is a preliminary 
version which only works with downloaded installations on Linux and 
custom builds so far. Support for Mac should be trivial, for Linux 
package manager versions too. AFAICS it's not (easily) possible to 
support Windows (but I'd be happy about suggestions).
You can find it here 
https://github.com/openlilylib/openlilylib/tree/master/fonts.
Maybe you'd like to improve it and make it somewhat more robust. You 
could then add a link to it on your page.


I would very much favor including the style sheets in openlilylib.


That's all for now. Keep up the work :-)

Best
Urs


Urs,

Done. More great suggestions. Rather than make a separate PDF for each 
sample, I created a single PDF with all of them so that they can be 
compared more easily.


Regards,
Abraham
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Re: Reducing the spacing between ChordNames systems

[Paul Morris]

Richard Shann-2 wrote
> This works perfectly on my minimal example but throws up a strangeness
> on a real-world example. With 10 systems I get two pages with a strange
> gap beneath the titles.

My guess is to try adjusting:

 markup-system-spacing

the distance between a (title or top-level) markup and the system that
follows it.

from:
http://lilypond.org/doc/v2.18/Documentation/notation/flexible-vertical-spacing-paper-variables#list-of-flexible-vertical-spacing-paper-variables

That should control the spacing between the titles and the first system on a
page.

This is a really helpful visual guide (courtesy of Abraham):
http://lilypond.1069038.n5.nabble.com/attachment/164161/0/vertical-spacing-paper-variables.pdf

HTH,
-Paul



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Re: Henle Music font

[tisimst]

tisimst wrote
> Hraban,
> 
> Thank you for this information. It's very helpful!
> 
> I'd just like to mention that the purpose of this work is NOT to make a
> clone of the CURRENT, or recent, Henle font. I don't even want to go
> there. It's just not what I do. I have a great respect all the hard work
> that goes into designing a font and I don't want to be a black-market
> copycat even though it may be "legal" to do so in the US. I can't control
> what others do with Henle's designs, but that's where I stand on the
> matter.
> 
> Thus, the current plan for the Henle look-a-like font would be to digitize
> a nice design from the mid-1900s. I'm still deciding which one (for there
> are many), but I should have that decided soon. I'll post some actual
> Henle score images to get everyone's thoughts and recommendations on the
> matter before I begin creating the font.
> 
> Regards,
> Abraham

All,

Here are some sample scans    of
Henle scores I have. Which one should I base the new font off of? I know
that there are even more designs, but I'll start with these (unless no one
likes these ones :)

At first glance, the Beethoven-1950 one looks a lot the Notaset design,
which Maestro and Bravura are based on, and the Brahms-1976 one might be too
close to the one Henle uses now. Anyone else like to chime in?

Regards,
Abraham





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Re: fonts.openlilylib.org is live!

[Guy Stalnaker]

Abraham,

Simply wonderful! LOVE Haydn. Seriously, it makes me happy (I know, I'm a
font geek) to see a score with that font.

Only quibble are the stylesheets. On a kubuntu Linux install, I cannot get
them working in Frescobaldi. I added the the path to the Preferences as you
suggest. Frescobaldi correctly auto-completes the include filename, so I
know it can find them. I can Ctrl-click on the include filename and
Frescobaldi will actually open the stylesheet file. But, compiling the file
with lilypond does not use the stylesheet file contents. I can move to the
command line (and, of course, use the --include or -I directive) and with
-V verbose output clearly see that lilypond is using the default ementhaler
font. Here's some of the verbose output from the command line:


Using `english' note names...]
  [/home/jstalnak/Dropbox/Music/Lilypond/stylesheets/haydn.ily] <-- the
\include file path!
Interpreting music...
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/emmentaler-20.otf][8][16]

elapsed time: 0.12 seconds
Element count 2745 (spanners 375)
Preprocessing graphical objects...
Grob count 3795
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/emmentaler-11.otf]
<-- But still using emmentaler!
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/emmentaler-13.otf]
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/emmentaler-14.otf]
[emmentaler-13_4.5693359375]


And here are the stylesheet files:


KubuntuMacBook% ls -l
/home/jstalnak/Dropbox/Music/Lilypond/stylesheets
total 92
-rwxrwxrwx 1 jstalnak jstalnak  520 Sep 10 14:38 cadence.ily
-rwxrwxrwx 1 jstalnak jstalnak  991 Aug  4 10:39 font-register.ily
-rwxrwxrwx 1 jstalnak jstalnak  546 Sep 10 14:38 gonville.ily
-rwxrwxrwx 1 jstalnak jstalnak  869 Sep 10 14:38 gutenberg1939.ily
-rwxrwxrwx 1 jstalnak jstalnak  782 Sep 10 14:38 haydn.ily
-rwxrwxrwx 1 jstalnak jstalnak 5343 Sep 10 14:23 jazzchords.ily
-rwxrwxrwx 1 jstalnak jstalnak 2684 Sep 11 22:50 LilyJAZZ.ily
-rwxrwxrwx 1 jstalnak jstalnak  523 Sep 10 14:40 paganini.ily
-rwxrwxrwx 1 jstalnak jstalnak  932 Sep 10 14:41 profondo.ily
-rwxrwxrwx 1 jstalnak jstalnak  717 Sep 10 14:41 ross.ily
-rwxrwxrwx 1 jstalnak jstalnak  648 Sep 10 14:41 scorlatti.ily


I know that the fonts are in the right place for I can take literally copy
the \paper and \layout directives from the stylesheet file Frescobaldi
opens and paste them into the score and they work. Here's the lilypond
verbose output when I copy/paste the stylesheet contents directly into the
score:


  [/home/jstalnak/Dropbox/Music/Lilypond/stylesheets/haydn.ily] <-- the
\include file path!
Interpreting music...
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/emmentaler-20.otf][8][16]
elapsed time: 0.13 seconds
Element count 2745 (spanners 375)
Preprocessing graphical objects...
Grob count 3795
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/haydn-11.otf] <--
Now using the haydn font!
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/haydn-13.otf]
[/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/haydn-14.otf]


So, does not work using the \include from either inside Frescobaldi or
lilypond on the commandline, but does work if used directly in the score.
Just wierd.

Any idea what may be going awry?

Guy Stalnaker
jimmyg...@gmail.com
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