Thank you Simon for your answer. As much as I applaud the efforts for making Lilypond work with other fonts, I find it a pity that more glyphs can’t be included in the core. It’s not rare to find alternative or “extra” glyphs in other fonts either (Maestro, Opus, etc.), so this wouldn’t be the first time that happens, nor I can’t see how doing so would discourage inclusion or creation of other fonts. The same can be said for all the other glyphs (in the percussion section f. ex.) that Emmentaler doesn’t have. Perhaps extending the Emmentaler font can’t be a priority right now, which is totally understandable, but I would still leave this request open for future consideration.
Best regards,
Martín.
On 24. Oct 2020, 12:14 +0200, Simon Albrecht <simon.albrecht@mail.de>, wrote:
Hi Martín,
On 24.10.20 11:47, Martín Rincón Botero wrote:
I wish Perol-Schneider's clef could be considered for inclusion into
standard Lilypond, possibly named as "G2" (which would actually
produce a "second" G clef) or as \clef varG.
two things here: there has been a lot of work to making LilyPond work
with other music fonts. This seems like it doesn’t have to do with any
syntactic differentiation but merely with design choices (well, \clef
"GG" and "tenorG" at least hold some residue of suggesting another
stylistic context/hinting at the transposing nature). Hence I wouldn’t
think it should be added concurrently to the LilyPond core.
The naming of \clef "G2" doesn’t mean ‘second G clef’ or ‘alternative’,
but it means ‘a G clef sitting on the 2nd staff line’ (staff lines
traditionally being counted from the bottom up). In ancient music, it’s
customary e.g. to describe the clefs used in a piece as “G2, C2, C3,
F3”, meaning treble, mezzosoprano, alto, and baritone clefs.
Best, Simon