From: fred Date: Sun, 24 Mar 2002 20:09:43 +0000 (+0000) Subject: lilypond-0.1.56 X-Git-Tag: release/1.5.59~3209 X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=6ae022a9da6b43177efe0a85bc213003a03d75d7;p=lilypond.git lilypond-0.1.56 --- diff --git a/Documentation/Makefile.am.wild b/Documentation/Makefile.am.wild index 329e22535f..aef47b08e2 100644 --- a/Documentation/Makefile.am.wild +++ b/Documentation/Makefile.am.wild @@ -11,7 +11,7 @@ DVIFILES = $(DOCFILES:.doc=.dvi) XPMS = $(wildcard *.xpm) giffiles = $(XPMS:.xpm=.gif) -EXTRA_DIST = Makefile.am.wild Rules.make $(XPMS) $(DOCFILES) $(PODFILES) vocabulary-data vocabulary-forms.el +EXTRA_DIST = Makefile.am.wild Rules.make $(XPMS) $(DOCFILES) $(PODFILES) vocabulary-data vocabulary-forms.el fonts.tex MAN1FILES = lilypond convert-mudela mi2mu mudela-book ly2dvi MAN1GROFF = $(addsuffix .1,$(MAN1FILES)) diff --git a/Documentation/fonts.tex b/Documentation/fonts.tex new file mode 100644 index 0000000000..81c87e3c09 --- /dev/null +++ b/Documentation/fonts.tex @@ -0,0 +1,130 @@ +\documentclass{article} +\def\kdots{,\ldots,} +\title{Not the Font-En-Tja font} +\author{HWN \& JCN} +\begin{document} +\maketitle + + +\section{Introduction} + +Feta (not an abbreviation of Font-En-Tja) is a font of music symbols. +All MetaFont %ugh +sources are original. The symbols are modelled after +various editions of music, notably +\begin{itemize} +\item B\"arenreiter +\item Hofmeister +\item Breitkopf +\item Durand \& C'ie +\end{itemize} + +The best references on Music engraving are Wanske\cite{wanske} and +Ross\cite{ross} quite some of their insights were used. Although it +is a matter of taste, I'd say that B\"arenreiter has the finest +typography of all. + + +\section{Bezier curves for simple slurs} + +Objective: slurs in music are curved objects designating that notes +should fluently bound. They are drawn as smooth curves, with their +center thicker and the endings tapered. + +Long slurs are flat, whereas short slurs look like small circle arcs. +Details are given in Wanske\cite{ross} and Ross\cite{wanske}. The +shape of a slur can be given as a Bezier curve with four control +points. We will assume that the slur connects two notes of the same +pitch. Different slurs can be created by rotating the derived shape. +We will also assume that the slur has a vertical axis of symmetry +through its center. The left point will be the origin. So we have +the following equations for the control points $c_1\kdots c_4$. + +\begin{eqnarray*} +c_1&=& (0,0)\\ +c_2&=& (i, h)\\ +c_3&=& (b-i, h)\\ +c_4&=& (b, 0) +\end{eqnarray*} + +The quantity $b$ is given, it is the width of the slur. The +conditions on the shape of the slur for small and large $b$ transform +to +\begin{eqnarray*} + h \to h_{\infty} , &&\quad b \to \infty\\ + h \approx r_{0} b, &&\quad b \to 0. +\end{eqnarray*} +To tackle this, we will assume that $h = F(b)$, for some kind of +$F(\cdot)$. One function that satisfies the above conditions is +$$ +F(b) = h_{\infty} \frac{2}{\pi} \arctan \left( \frac{\pi r_0}{2 +h_{\infty}} b \right). +$$ + +For satisfying results we choose $h_{\infty} = 2\cdot \texttt{interline}$ +and $r_0 = \frac 13$. + +The parameter $i$ determines the flatness of the curve. Satisfying +results have been obtained with $i = h$. + +The formula can be generalised to allow for corrections in the shape, +\begin{eqnarray*} +c_1&=& (0,0)\\ +c_2&=& (i', h')\\ +c_3&=& (b-i', h')\\ +c_4&=& (b, 0) +\end{eqnarray*} +Where +$$ +i' = h(b) (1 + i_{corr}), \quad h' = h(b) (1 + h_{corr}). +$$ + +The default values for these corrections are $0$. A $h_{corr}$ that is +negative, makes the curve flatter in the center. A $h_{corr}$ that is +positive make the curve higher. + + +\section{Sizes} + + +Traditional engraving uses a set of 9 standardised sizes for Staffs +(running from 0 to 8). + +We have tried to measure these (helped by a magnifying glass), and +found the staffsizes in the following table. One should note that +these are estimates, so I think there could be a measuring error of ~ +.5 pt. Moreover [Ross] states that not all engravers use exactly +those sizes. + +\begin{table} +\begin{tabular}{lll} +Staffsize &Numbers &Name\\ +\hline\\ +26.2pt &No. 0\\ +22.6pt &No. 1 &Giant/English\\ +21.3pt &No. 2 &Giant/English\\ +19.9pt &No. 3 &Regular, Ordinary, Common\\ +19.1pt &No. 4 &Peter\\ +17.1pt &No. 5 &Large middle\\ +15.9pt &No. 6 &Small middle\\ +13.7pt &No. 7 &Cadenza\\ +11.1pt &No. 8 &Pearl\\ +\end{tabular} +\caption{Font and staff sizes} +\end{table} + + +This table is partially taken from [Ross]. Most music is set in No.3, +but the papersizes usually are bigger than standard printer paper +(such as A4). If you plot these, you'll notice that the sizes (With +exception of 26) almost (but not quite) form a arithmetic progression. + +Ross states that the dies (the stamps to make the symbols) come in +12 different sizes. + +\bibliographystyle{plain} +\bibliography{engraving} + + + +\end{document} diff --git a/mf/Makefile.am.wild b/mf/Makefile.am.wild index f2b25ae4f4..6d5f461c5a 100644 --- a/mf/Makefile.am.wild +++ b/mf/Makefile.am.wild @@ -12,7 +12,7 @@ outdir = . TEXFILES = $(wildcard *.tex) MFFILES = $(wildcard *.mf) MFDEPS = $(outdir)/mf.dep -EXTRA_DIST = Makefile.am.wild GNUmakefile Rules.make $(MFFILES) $(TEXFILES) TODO README +EXTRA_DIST = Makefile.am.wild GNUmakefile Rules.make $(MFFILES) $(TEXFILES) TODO FONT_FILES = $(wildcard *[0-9].mf) FET_FILES = $(wildcard feta[0-9]*.mf)