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Re: Thriple flat/sharp glyphs...

From: Sam Bivens
Subject: Re: Thriple flat/sharp glyphs...
Date: Wed, 14 Mar 2018 17:29:25 -0400
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Hi Torsten,

This looks really wonderful; terrific work!

While we're here, can anyone provide an update on microtonal work in LilyPond? I seem to remember a git project a few years ago but haven't heard anything since. Has anyone done any microtonal or spectralist notation with Lily recently?

I ask in case this is a good time to create microtonal glyphs; I'm happy to help in any way I can (even if it might be minimal).



On 03/14/2018 03:22 PM, Torsten Hämmerle wrote:
Dear all,

After thorough considerations and evaluating your answers, I think I've
chosen to implement Abraham's "equally condensed flats" proposal.

Now that I've set up a proofsheet showing all Feta design sizes from 11 to
26 both in music examples and a uniformly scaled (artificial) proofing size
for comparison on page 2, I'll have to say the the slightly but uniformly
condensed version seemed to be the best of all.

Werner and Joram came to the same conclusion and others had nothing negative
to say about it, either (except Urs, probably).

There are several advantages of this design:
(1) The double flat glyph width has remained exactly the same so that this
will not affect the overall LilyPond spacing
(2) It's closest to the original
(3) Looks good (to me, among others) in all the sizes
(4) The triple flat ligature (using the same compression as the double flat)
isn't too wide either.

I've also unified some inconsistent parameter values (0.31 vs. 1/3) that
gave the counters an inconsistent look in some of the flat stencils.

Please find attached the proofsheet I'm planning to attach to the issue
tracker (if nothing dreadful happens).
There's also a concise test of \chordmode and note entry. MIDI output isn't
contained, but it's working as it should.


Thanks for all the support and advice,

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Sam Bivens
Music Theory Faculty | Cleveland Institute of Music
Ph.D. Candidate | Eastman School of Music

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