You seem to follow the same basic principles as Lilypond for the fonts – slightly rounded corners like classic printing, good thickness for readability – but you extend them further. The preliminary result makes the note reading faster already. It also makes the score feeling more «assertive» than the classic Opus Font (Personally, I always found the noteheads of Opus too wide, so this new font sure is a good thing for me.) Thumbs up for the Open Font licence!
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I am also interested to be a beta tester, of course 😉. Hi Daniel – this may not be the time or place for it – but with previous notation software we were unable to have multiple key signatures vertically in the same measure – B flat in a flute, G major in a oboe – etc Also, in that same flute line say you want to be in 7/8 and the oboe 3/4 without too much effort. Can I put the thought in that maybe your new product could have a “Graphic” mode where these options are possible – with or without playback?.I.
would never use it, but I know composers still doing that complicated stuff. Thanks, Daniel! I think the difference is in having a typeface that is clearly the plain italic version of the standard bold-case “p” and “f” that’s taken for granted.
For indeed this dynamic text is not a font in and of itself. It is derived from a standard music text font, slightly stylized, but basically the same characters.
The problem is that a notation software-generated edition will immediately be recognizable by its use of Times Roman-type expression text fonts. After 18 years of this, I think it’s time there was something that looked professional.
LilyPond uses Century Schoolbook as well – it’s nice and has this “classical, early XX century look”. The only drawback is that it’s not optimal for lyrics in languages containing long syllables (such as English or German) because it’s quite wide. By the way, there was a discussion in LilyPond community about creating a Free font designed specifically for music engraving. It was considered a good idea, but we lack enough funding currently. Maybe we could do this together with Steinberg? If you’re interested in that discussion, take a look:. I consider TNR a nasty font, useful for narrow justified columns in newspapers but in most applications cramped and often difficult to read, especially for words with lots of ‘m’s, ‘w’s, ‘n’s, ‘u’s When editing academic text, I always switch away from TNR to a font that’s easier to read, and if it takes 5% to 10% more space, well tough.
These days I generally use Cambria, which supports an immense number of glyphs across a huge language spectrum, including IPA. Like Bravura Enjoying this discussion.
Hi Daniel, if “ interoperability” is the keyword, I can just support the cause. I will examine carefully all existing sybols in the font Bravura. (actually, this post persuaded me definitely to suscribe to your news).
Talking in general, I suggest a (new?) font for the clefs. You know the little eight below the G-clef to denote “sounds 8ve lower”. Well, I propose a small 2 below to denote “transposing clef, sounds a second lower” for clarinet, trumpet or any other B flat instruments – what do you think? Also a small 9 for bass clarinet, etc. I actually use these clefs in my own music and find it particularly practical when there is no tonality, so erradicates the question “is it written in C, or transposing?” warm regards.
@Daniel: great that we are more than one)! @Janek: actually you are right, but even if you had -say- horns in D flat or in just D, the main idea is to indicate that the score/part is NOT in C. Horns are possibly the only instrument with several possible transpositions (mainly for historical reasons).
Although I cannot recall any piece for horn in E (and several in E flat) it might be possible that they exist (and a fast search would seal my mouth for ever). So your suggestion is meaningful – while restricted to a few pieces in the literature. (By the way, besides piano I played horn as second instrument for some years) warm regards Juan Maria. @Juan Maria: Indeed, e-natural transposition is rare. In fact, in every case it should be pretty clear whether the interval denoted next to the clef is minor or major: – a second is virtually always a major second (i.e.
There are transposing instruments in b-flat and d-natural, but there are virtually no instruments in b-natural and d-flat), – a third is virtually always a minor third, – a sixth is virtually always a major sixth, – a seventh is virtually always a minor seventh, – a fourth, fifth or octave is virtually always a perfect one. So, there is actually not that much ambiguity, and i agree that marking transposed clefs with an appropriate number would be a great improvement. Best wishes, Janek. @ Janek: In large orchestral scores, using additional numbers may require too much vertical space (unless they are so small, that they actually cannot denote anything), so it is better to draw them as a part of a clef (ligated, just like 8 for tenors, which, in some older editions of choir music, goes instead of the terminal dot), thus, have them encoded. @Juan Maria: It happened to me, that in a score I prepared for publication, I used a treble clef transposing augmented fourth down, as the composer wanted the entire movement to be played on stopped horn (transposing clefs were employed in the previous volumes of the publication, and I wished the rule to be followed). About 120 glyphs can cover most cases (including contrabass clarinets in both clefs, differentiating between E and E-flat transposition, and even augmented unison, for the exceptional case that an old instrument tuned to a=415 is used in a modern composition). And 120 glyphs are not so many.
There are more than 100 accented characters for European languages. Spreadbury, It’s nice to see another music font on the scene, especially one that is looking to create an open and standardized font! Thank you for that! One point I slightly disagree with, though it amounts purely to a matter of taste, is in the use of thick weights of notational elements.
Personally, I prefer a slightly lighter font, which creates a different psychological impact for the performer (particularly with complex scores of new music). This has led me, over the past few months, to begin developping my own font. I would love to discuss SMuFL and Bravura with you, as well as contributing what I can to the project. Best wishes and thank you for this! @Emil: I think there may be a misunderstanding: I didn’t mean that there should be a gap between the clef and the number (like this ). I suggested that the clef and the numbers should be separate glyphs in the font – that way the user will be able to customize the appearance of the transposition number (for example change its size, color, make it bold or italic, or anything he wants). If transposition numbers were part of the clef glyphs, this would be much, much harder to do.
Of course, with numbers being separate glyphs it will be possible to attach the number to the glyph so that they touch or overlap, or anything you want. As for the ligated 8 that replaces the bottom dot, that’s an interesting idea, but i still think that you shouldn’t do this by creating 120 glyphs of clefs with transpositions hard-coded in them. It should be enough to have 14 or so glyphs: – 10 digits, – 4 clefs (F, C, G and a variant of the treble clef with the dot cut off, so that it could be replaced by the transposition). Here’s a proof of concept: in LilyPond, the clef and the transposition number are separate glyphs. I was able to customize the appearance of the transposition number quite heavily, as you can see here: (this wasn’t done by image postprocessing – it was done in LilyPond itself!).
By the way, how did you notate the augmented fourth transposition? Was it 4+ or 4. The notation for stopped horn was actually a diminished 5th (it is still an F horn, just risen a semitone up), written, after many considerations, as #5, which I found most consistent with other elements of notation. For common transpositions like 2nd or 6th we use just a digit (although a saxophone player asked, why a flat sign disappeared, as it is E-flat or Mi-bemolle). For E transposition I would use a 6 with a natural sign (however, I have published a reedition of some 19th century music, with 6 marking, now I find this notation confusing). Basically, I agree with you, that the apps should deal with transposition numerals as an separate, fully adjustable element.
But imagine a conducting score with alto and bass flute, cor anglais, three clarinets, 4 horns, 2 trumpets (each instrument on a separate staff for good reasons, as the musical texture changes rapidly) and immensely divided strings, printed on an A3 or even 450×320 mm paper. In this circumstances each millimetre is precious, and staff size may go less than 4 mm (which is in practice the smallest staff size for that type of score). At this staff size, transposing numerals would need to be almost 2 spaces high, to be visible enough. This equals to about 15 spaces you must provide.
In some circumstances it really makes a difference. And only the last of your examples can address this issue. Now, it would look some better if the elements were ligated (not to mention the stroke contrast in the digit). And for ligated sign one has to have codepoints (well, there are OpenType alternates, but I think that only glyph to glyph substitutions can make sense for engraving music). And I suppose, that for programmers it would be the most convenient way to deal with this kind of notation: to make an option, that in the transposing score the instrument uses a clef from given codepoint.
For this reasons I’m nearly sure, it is a good Idea to have these clefs encoded. And this works on that way even today: in Sibelius you can tweak instrument definitions, saying the application to use an ordinary treble clef for clarinet in non-transposing score, and a 8vb clef when switched to transposing mode. Then, if you substitute the 8vb clef with “seconda bassa” one, the score behaves perfectly, and you are able to easily make printouts both in concert pitch and transposing, with properly marked transposition, to meet the preferences of the different persons involved in production.
Good luck with the project! I really like the thick stem on the quaver. The thicker stems (and staff lines) was always one of the reasons I sometimes actually preferred Cubase’s notation printouts over Sibelius. It just seemed more practical and clear, easier to get the job done if the goal is to get readable music, not necessarily “pretty” music. Btw, I hope you can preserve Cubase’s great ability to intelligently translate MIDI data to musical notation.
That’s one area where Cubase’s score editor still totally kicks Sibelius’s backside. My favourite trick is to set display quantization for rests to double the length it’s for notes, and syncopation magic set to maximum. For example, notes 1/8 and rests 1/4, if the melody has an eight-note pulse. Then it practically always produces the correct notation with zero need for manual adjustments. Granted, manual adjustments are easier in Sibelius, but it always requires lots of them, whereas Cubase usually doesn’t need any at all, once I’ve set the display quantize values appropriately. Hi, I hope I didn’t overlook a reference to my question in that big number of comments How will the glyphs be identified/organized/accessed in the OpenType fonts according to SMuFL?
In the SMuFL reference I see each glyph accompanied by two (alternative) Unicode numbers (e.g. ‘U+E040’ and ‘U+1D106’) plus a descriptive text like in this case ‘Left repeat sign’. Does this mean there is no notion of ‘glyph names’ that the OpenType standard offers? The above glyph could for example be called by ‘smufl.barlines.repeatleft’. Am I missing something? Is this left out on purpose? Is this left out accidentally?
Is this planned but not realized yet? I think it would be a very good idea to be able to access SMuFL glyphs by name. I find this quite descriptive in use. (For example I’m developing a package to include notational elements as characters in LaTeX documents, and I would be happy to extend this one day to be SMuFL compliant). @Urs: The recommendation for SMuFL-compliant fonts is that they should follow the glyph naming conventions set out by Adobe (in the AGLFN), since these are popularly followed by operating systems and the major applications (particularly those from Adobe) with regard to font embedding, etc.
What this means is that glyphs in the Private Use Area of the Basic Multilingual Plane, where SMuFL lives, should use glyph names of the form “uniE000”, i.e. “uni” followed by a four-character hexadecimal representation of the code point; SMuFL also recommends that compliant fonts include glyphs in the Unicode Musical Symbols range, between U+1D100–U+1D1FF, and the recommendation for glyph names in that code range (beyond the first 16 bits in Unicode) is of the form “u1D100”, i.e. “u” followed by a six-character hexadecimal representation of the code point. However, this does not prevent consuming applications from maintaining a mapping between the SMuFL code points and identifiers such as those you propose, e.g. Indeed, one thing that has not yet been completed related to SMuFL is a metadata file that will provide some hints (which I don’t mean in the technical sense of font hinting, but rather just helpful information) to consuming applications, and among other things it could indeed provide some suggested names for consuming applications to use as a means of accessing its symbols. If you’re interested in discussing SMuFL in detail, you’d be very welcome to join the. Likewise, if you spot any symbols missing from SMuFL that you think should be included, please let me know.
@Don: The reason we don’t have a “record” character in SMuFL is, for better or worse, that we didn’t consider it likely that people would be recording during a musical performance: the play/stop/rewind etc. Buttons were intended to be used as part of instructions for e.g.
Tape or sample playback as part of an electro-acoustic or electronic music performance. Thanks for pointing out the inconsistency between the example of 10 x wiggleWavy and the current version of the wiggleWavy glyph. I’ll update the graphic to match the glyph when I get a chance. Bravura is just one possible embodiment of the SMuFL standard, of course, so other font designers are free to construct their tessellating sine wave glyphs however they wish. Trackbacks/Pingbacks.
Introducing Bravura. time chatting with them about the work we’re doing on our new scoring application, SMuFL and Bravura. You can download. devoted user bases.
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And of course, having been treated yesterday to a taste of things to come with their. has a blog detailing the development. He recently posted an early version of a new notation font, Bravura, and. a blog post Daniel Spreadbury of Steinberg has announced the release of Bravura a font that is Standard Music.
by Steinberg last week, the new Bravura music font is the first to conform to the proposed Standard Music. that in the Standard Music Font Layout page: SMuFL). He has also created a new music font, called Bravura. in the Bravura font, the pre-release version of the font to be included with Steinberg’s new notation software, Sibelius. on the Standard Music Font Layout initiative at the Music Encoding Conference in Mainz, Germany. I wrote about SMuFL.
new contributors will be published (one about Czech liturgical chant, and the other about making Bravura music font available. released the first pre-release version of our music font, Bravura, in May of last year.
One year later, we are on the. May 2013 Daniel Spreadbury announced both SMuFL and Bravura on his blog, and over the course of a year,. Designing a Music Font – By Daniel Spreadbury – Steinberg software is creating a new music notation program. font that ships with LilyPond, Bravura implements SMuFL and looks.
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where did these new shapes come from? They are borrowed from the Bravura music font which, as that blog.