On Wednesday, June 23, 2004, at 09:25 AM, Darcy James Argue wrote:
What I see is decent, but I still have reservations. For instance, I think the angle of his "alternate bass" slash is far too shallow, and would probably use Finale's (especially now that you can have the alternate bass offset below and to the right, instead of just in the same horizontal plane). His tall parentheses are nice. Of course, I would want to change all of the "MA" and "mi" to geometric symbols (â, -, Ã, etc.) and I don't know how easy that would be if all of these chord symbols are single-character glyphs.
I agree with you about the angle of the slash, and the tall parentheses ARE very smooth and uncluttered, just as they should be (got that, Rich Sigler?)
The symbols, though, are NOT single-character glyphs, as in the JazzCord font, but individual characters that you can type, using Type Into Score! He explains in some detail that he has edited the characters' baselines so that you can type in a new suffix and have it mostly line up (except for stacked alterations, as always.) I'd be willing to bet that he would add the four or five geometric symbols to the font (if they aren't already there) under specialised keystrokes, if you were to ask. So you could type Cmaj7(#11) and get that properly kerned, or C(triangle, whatever that keystroke might be)(#11) and get that suffix, too. This is the way it works in Engraver, (except that it looks too stupid for words) and that's the way I WISH it worked in the Jazz Font. I hate all the mixed fonts, sizes, and baselines I had to adjust individually just to get a set of suffixes I could type easily, and look good. This solution of Bill's is terrific. I just wish it was more JazzFont oriented.
I may write to Bill and see if he'll send me the PDFs of the character maps for his fonts, so I can make an informed decision. (I don't know why he doesn't make those available on his web site.)
Hey, make the suggestion! He seems to be open to suggestions and responsive to users (unlike some other font designers who will go unnamed) and you might make the jazz copying world a warmer, fuzzier place as a result!
Christopher
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