Bill,
It's just their font that is not for sale. The book itself is easily
available.
<http://www.shermusic.com/standard_real.htm>
- Darcy
-----
[EMAIL PROTECTED]
http://homepage.mac.com/djargon
Brooklyn, NY
On 24 Oct 2005, at 1:33 AM, bill wrote:
Hi guys,
Chuck, would you like to be my sales rep??? hehehe You are so
kind to talk
about my stuff the way you do.
I had a thought about about a new articulations font:
From what I am hearing, there are not a lot of jazz articulations
needed, so
I am thinking about an all-inclusive "Articulations" font that
contains
everything (both jazz and legit). There seems to be plenty of
slots in the
font to accommodate them all. I don't know about you all, but I'm
still not
satisfied with any of the out-of-the-box articulations in the fonts
that MM
supplies. Maybe I could put together an articulations font that
all of us
agree with for everything and be done with it.
For what it's worth, I'm not really interested in doing the work
unless it
can be "the definitive" font for articulations, so I guess I'm
asking for
input from anyone here. I trust you guys way more than those who
influence
MM's "artistic" decisions, and I admit that I don't know
everything...especially with jazz articulations.
As far as the jazz chords font, could someone send me a scanned
page of
anything (containing lots of chords, of course) from Sher Music
Co's "The
Standards Real Book"? If it's not for sale, I'm not really in a
position to
get it. Also, if anyone has anything else that they feel particularly
strongly about, I'd love to see them too.
All the best! I'm getting excited about this...
Bill Duncan
[EMAIL PROTECTED]
206-780-2875
From: Chuck Israels <[EMAIL PROTECTED]>
Reply-To: [email protected]
Date: Sun, 23 Oct 2005 13:26:36 -0700
To: [email protected]
Subject: Re: [Finale] Jazz version of ChordSuf?
On Oct 23, 2005, at 1:13 PM, Eric Dannewitz wrote:
Yeah, I too bought the Ash Font, but have rarely used it. I do use
the jazz font, but basically only to use the articulations in it,
as it does have scoops and what not. I also bought the swing font
(www.jazzfont.com), from the author of the Jazz Font. Though, I
have found that I don't care for the look of it anymore.
If Bill could come up with articulations, then I might buy his
Productivity product. Looking at the examples, he has just about
everything else one would want in his library except for
articulations and jazz type things........
Eric,
There are many things in Bill's productivity package that are
"overkill" for my needs, but every time I use one of the things that
I do need, I wonder how I'd have done without it. There are some
really good smart shapes and special staff styles, as well as
specialized harp notation, which I rarely need, but which I imagine
would be terrific for anyone who did a lot of harp writing. Some
other things are specially good for recording circumstances, where
there can be no doubt about what's on the page, and there's little
tolerance for error. Those things may be overly bold for more normal
circumstances, but they're still worth a look. There's a lot of good
stuff there.
Chuck
And on the Bill Rowen thing, I'm sure if you gave examples of how
he wrote things, someone around here probably has the know how to
make a font out of it.............
Chuck Israels wrote:
Hi Bill et al,
Perhaps Chris, Darcy, Greg Hamilton, and some others can help to
come up with a set of a few jazz articulations that most of us
need. I use few of them; a fall-off, a scoop up to pitch, and one
that indicates a drop and rise in pitch. Something for a brass
shake would also be useful to many. That's all I'd need, but
there are undoubtedly others who have different requirements. I
am using shapes from the Jazz Font articulations for these at the
moment, and it is true that they seem overly thick and bold for
the rest of the Maestro Font that I am using, but I can live with
them. If you (Bill) can improve on them - with advice from
thoughtful people here, I'm sure many would appreciate it.
I don't use the Jazz font - with the exception of those
articulations, but many do. I am sympathetic to the desire to
achieve a look that is more informal, perhaps more spontaneous
looking than Maestro and Engraver, but I have yet to find a
"handwritten" style font that I like. (I looked at the Ash Font
and even bought a copy. I prefer it to Jazz, but not enough to
use it regularly.) There is something about high quality hand
copying that I love, and I got used to beautiful work from Bill
Rowen, who did most of the copying for the National Jazz Ensemble,
and from whom I learned a great deal about music preparation. I
don't think we'd have fired a good copyist whose style looked like
the Jazz Font, but we'd surely have continued to look for the kind
of elegant work that Bill Rowen produced for us.
Chuck
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Chuck Israels
230 North Garden Terrace
Bellingham, WA 98225-5836
phone (360) 671-3402
fax (360) 676-6055
www.chuckisraels.com
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