Re: Subject: String Concatenation, and Use of Unicode characters [sic]

[tisimst]

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] <[hidden email]> 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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