I made one using Dom Casual (or Dom Regular) but it can never be what
you would call beautiful because of inherent problems with character
thickness and spacing when the root has a sharp or flat (G#m7 doesn't
space the same way as Gm7 or Gbm7.) I'll share it for free, but I'll
have to send
Picking up this thread and relating to chord, is there anyone in this
list that built a beautiful, well readable jazz chord library and would
be kind to share it (after payment of a fee, too)?
I know about that beautiful font pack that one of the late contributors
(sorry I cannot remember his na
On Oct 22, 2008, at 11:59 AM, Daniel Wolf wrote:
As an aside, I must admit to finding yet another discussion of
vernacular chord notation somewhat puzzling. While, in principle,
the intention would appear to be to create a notation for rather
flexible extemporaneous realization, in practic
On Oct 22, 2008, at 11:24 AM, Dana Friedman wrote:
In my area b13 is the norm on
Do you mean area of music? Area geographically? Culturally?
Heh, heh! All three, but I was really referring to Montreal. I find
some aspects of notation, especially in jazz, tend to be regional.
Nice cat
Many thanks for the interesting responses so far in this thread. As
expected, most of the information, while reasonable and with some
practical experience behind it, is rather informal. e.g.
— accidentals should be clearly distinguished, particularly sharps and
naturals;
— serif fonts are
In my area b13 is the norm on
Do you mean area of music? Area geographically? Culturally?
Best,
Dana
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I agree! You could do it as an e-book. I'd buy a copy.
**Leigh
On Wed, Oct 22, 2008, shirling & neueweise
<[EMAIL PROTECTED]> wrote:
>>You would be doing the notation world a great service if you would
>>put down in more detail your principles of graphic design as it
>>applies to music.
>
>hm,
On Oct 22, 2008, at 9:35 AM, Dana Friedman wrote:
I always stayed away from the - because most people use + to mean
augmented. Though I have seen some people stay way from the + by
writing things like C7#5.. But..if I'm to to reduce the amount
a player has to read, I wouldn't want th
On Oct 22, 2008, at 4:33 AM, dhbailey wrote:
Darcy James Argue wrote:
You should *never* use just "M" or "m" for chord symbols,
regardless of the font.
I know Christopher disagrees, but I prefer either the geometric
symbols ("∆" and "-"), or "MA" and "mi".
I believe Christopher uses "Cmaj
At 12:42 AM 10/22/2008, you wrote:
Darcy James Argue wrote:
You should *never* use just "M" or "m" for chord symbols,
regardless of the font.
I know Christopher disagrees, but I prefer either the geometric
symbols ("?" and "-"), or "MA" and "mi".
I believe Christopher uses "Cmaj7" (which is oka
If you find the JazzFont too thick, then the Inkpen font from
Sibelius is positively stubby. I find it next to unusable (though I
haven't tried it in Finale, only in Sibelius).
Christopher
On Oct 22, 2008, at 8:49 AM, Marcello Noia wrote:
Unfortunately Mr. Sigler got his Jazz font bundled
shirling & neueweise wrote:
shit... busted. verdammte Scheiße.
I'd rather deal with that than verdampfte Scheiße.
--
Robert Patterson
http://RobertGPatterson.com
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Unfortunately Mr. Sigler got his Jazz font bundled with Finale then
completely dismissed the updates (and did not reply to
emails about problems with his other Swingfont I bought many years ago).
And think how beatiful are the fonts used in latest Sher Real Books
Anyone has tried to use Inkpe
Oh don't get me started on the JazzText font! The Z and the 2, the H
and the M, the stupid 5...
Before long I am going to have convinced myself to make my own inkpen
font...
Christopher
On Oct 21, 2008, at 11:39 PM, Leigh Daniels wrote:
And make the capital M and the lower case M look d
I think the worst example of misleading text dynamics I have ever seen
appears on a piece set for one of the french horn exams of the Associated
Board in
the UK.
A couple of bars from the end of the penultimate line it says "de -" . On
the last line it says "crescendo" . I'll leave it
Darcy James Argue wrote:
You should *never* use just "M" or "m" for chord symbols, regardless of
the font.
I know Christopher disagrees, but I prefer either the geometric symbols
("∆" and "-"), or "MA" and "mi".
I believe Christopher uses "Cmaj7" (which is okay, though I *greatly*
prefer
shirling & neueweise wrote:
Christopher Smith wrote:
Maybe musicians read musical notation more easily than they read text
indications. I noticed later that the marking "stacc." was largely
ignored on the first reading (sight reading, of course, as prepared
parts in an orchestral context woul
Leigh Daniels wrote:
And make the capital M and the lower case M look different!
You mean we're supposed to read the letters, too? Wow --
the things I learn on this list! ;-)
--
David H. Bailey
[EMAIL PROTECTED]
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Richard Smith wrote:
[snip]
I have seen both do it and any engraver who puts out something like that
should be ashamed!
[snip]
That's really what it all boils down to -- the engraver
should take the time to actually make all the parts legible
and clear and easy to understand.
Most complaint
Darcy James Argue wrote:
You should *never* use just "M" or "m" for chord symbols, regardless of
the font.
I know Christopher disagrees, but I prefer either the geometric symbols
("?" and "-"), or "MA" and "mi".
I believe Christopher uses "Cmaj7" (which is okay, though I *greatly*
prefer CM
I really like the French parts also, except for those darn quarter
rests. They really throw me!
I agree that two parts on the same staff need to not cross and should be
rhythmically similar. I should have been more clear.
I am also a horn player and have the same reaction to the 1&3, 2&4
se
You should *never* use just "M" or "m" for chord symbols, regardless
of the font.
I know Christopher disagrees, but I prefer either the geometric
symbols ("∆" and "-"), or "MA" and "mi".
I believe Christopher uses "Cmaj7" (which is okay, though I *greatly*
prefer CMA7) and "Cm7" (which is
I remember seeing this piece early on; it looks like a gas!
yeah it was fun. a bit of a shocker to the oslo audience though.
You would be doing the notation world a great service if you would
put down in more detail your principles of graphic design as it
applies to music.
hm, thanks. i
Did anyone besides me notice that Jef's fingers
manage to find the shift-key for German but
never for English? What's up with that?
shit... busted. verdammte Scheiße.
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I forgot to reply to this. I have pretty much given up trying to
find a font family that looks like the different point sizes were
drawn with the same "pen". All fonts I see get thicker when they get
bigger. I would love a matched set from 9 points to 36 points that
look like they have the sa
Christopher Smith wrote:
Maybe musicians read musical notation more easily than they read
text indications. I noticed later that the marking "stacc." was
largely ignored on the first reading (sight reading, of course, as
prepared parts in an orchestral context would most likely have been
look
And make the capital M and the lower case M look different!
**Leigh
On Tue, Oct 21, 2008, Ray Horton <[EMAIL PROTECTED]> wrote:
>But, good lord, somebody fix that damn natural so it doesn't look like a
>sharp.
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Richard Smith wrote:
I actually prefer 2 parts on a page;
This is good practice if and only if the 2 parts appear on separate
staves, as with, e.g., orchestral parts for French works. (I believe it
was Durand who did this fairly consistently, but I am not certain.)
However, some of the Fren
A very interesting observation. Back at the end of the last century, I
remember thinking how precise and elegant my Finale work looked (Fin
98). But on one job, I found it difficult to read one my own works. My
(nearly 50 year old at the time) eyes were having trouble distinguishing
ledger lin
I laughed the first time I heard of the "jazz" font, myself, but I do
understand the purpose of it working to overcome some of the prejudice
against computer-printed charts in the commercial industry. I've even
used it, on occasion, when I've retyped a missing page of a handwritten
part, etc.
Richard Smith wrote:
I have never understood the use of the "jazz" fonts. When I was a hand
copyist, the goal was to look as much like printed music as possible. I
do find most of the "jazz" fonts very readable and understand that there
may be some psychological advantage for jazz musicians. I
As someone who has performed lots of hand written music (and prepared a
fair amount myself), I want to comment on this thread. I'm sorry I was
unable to reply earlier.
I have never understood the use of the "jazz" fonts. When I was a hand
copyist, the goal was to look as much like printed musi
On 20-Oct-08, at 20-Oct-08 12:01 PM, Daniel Wolf wrote:
There is quite a bit of formal research into the readability of
text fonts. For music copying and engraving, it appears that there
is quite of bit of hearsay and very little research about
readability, much of it fairly hardened int
Robert Patterson wrote:
Did anyone besides me notice that Jef's fingers manage to find the
shift-key for German but never for English? What's up with that?
dhbailey wrote:
He didn't bother to read the explanatory notes about how sentences
are supposed to start with capital letters? ;-)
A
On 21-Oct-08, at 21-Oct-08 11:14 AM, shirling & neueweise wrote:
a simple example, the consistency of line thicknesses, shapes and
style in my fonts are far more easy to deal with and process
visually than the mixed fonts that plague most digital notation today.
I forgot to reply to this
On 21-Oct-08, at 21-Oct-08 11:14 AM, shirling & neueweise wrote:
i also apply basic principles of graphic design to the layout (over
and above traditional notation standards that i feel are still
relevant) and have learned a lot from typography. i approach score
info in layers. one the
Robert Patterson wrote:
Jef has hit on a very key point (illustrated perfectly in his
example), that any additional instructions or level of detail must be
fully integrated with the basic "Beethoven notation". My experience
coincides with his that musicians will ignore prefatory notes or
explanat
Jef has hit on a very key point (illustrated perfectly in his
example), that any additional instructions or level of detail must be
fully integrated with the basic "Beethoven notation". My experience
coincides with his that musicians will ignore prefatory notes or
explanations longer than a phrase
Now, guys who prepare music for a living like Darcy and jef chippewa
probably know this stuff like the back of their hands and more.
Whether there is actual research to back it up, well, who knows?
musicians don't read, you have to draw pictures for the bastards.
seriously though (not that t
On 20-Oct-08, at 20-Oct-08 5:50 PM, John Howell wrote:
At 6:01 PM +0200 10/20/08, Daniel Wolf wrote:
There is quite a bit of formal research into the readability of
text fonts. For music copying and engraving, it appears that
there is quite of bit of hearsay and very little research about
At 6:01 PM +0200 10/20/08, Daniel Wolf wrote:
There is quite a bit of formal research into the readability of text
fonts. For music copying and engraving, it appears that there is
quite of bit of hearsay and very little research about readability,
much of it fairly hardened into rules about no
Daniel Wolf wrote:
There is quite a bit of formal research into the readability of text
fonts. For music copying and engraving, it appears that there is
quite of bit of hearsay and very little research about readability,
much of it fairly hardened into rules about notation style,
particularly
There is quite a bit of formal research into the readability of text
fonts. For music copying and engraving, it appears that there is quite of
bit of hearsay and very little research about readability, much of it
fairly hardened into rules about notation style, particularly in
commercial m
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