[smufl-discuss] Re: Additional Glyphs

[Emil B. Wojtacki]

Daniel Spreadbury wrote:
> Thanks for these suggestions, Emil.
>
> What is the provenance of these individual glyphs? Are they of your own
> creation, or do they come from other fonts? If so, which? For several of
> them it would be convenient for font developers (including me!) to be able
> to bring these outlines into our own fonts directly rather than having to
> redraw all of them. If it's possible for you to provide permission to
> re-use some of these outlines directly, that would be very useful.

For function theory symbols, I used TeX Gyre Heros (GUST license). All
drawings containing musical symbols currently encoded in SMuFL (or their
elements, like clusters segments, dots in repetitions, in gettato
symbols, jarring-sound black accent for strings) have been drawn using
outlines from Bravura (SIL OFL).
All the other glyphs (including line segments) are my, mostly ad hoc,
drawings. Feel (all of you) free to use them.


> ARTICULATIONS
> - Do you propose the wedge-shaped staccatissimo as an alternative
> appearance for U+E183 and U+E184, or do you consider them completely
> separate symbols? If so, how are they disambiguated?
I consider them separate symbols, because the staccatissimo glyph in
Bravura seems to be inappropriate for using in modern scores (if I
imagine some fragments from Ligeti engraved with this glyph, I feel
simply confused).
The tear-shaped dash (like in Bravura) can be considered as a valid way
of representing staccatissimo in the late 19th century music, as well as
a one of the possible ways of representing  an ambigous Strich as found
in Beethoven's and Schubert's manuscripts. But for the modern music
wedges seem to be preferred. And using tear-shaped dash in some contexts
could be misguiding (that would be the case with "Shubert's Winterreise"
by Hans Zender, where it would be unclear, what the meaning of the dash
is supposed - Shubertian or modern one).

- What is the "alzando" articulation used for?

This is a string technique, kind of messa voce (not to confuse with
mezza voce). Similar to détaché, but with much smoother bow change. The
same marking is used for starting a sound without using the tongue (for
woodwinds).


> - Likewise, what is the purpose of the four directional arrows as
> articulations?
Well, they have lots of meanings. Most important are: vocal technique
(inhaling and exhaling -- left and right), and intonation in educational
music (up and down). Perhaps these are not articulation in the strict
meaning, but they behave (i.e. are placed) like accents in the scores.

> DYNAMICS
> I suggest that the various dynamics from ppppp to fffff etc. are encoded
> as ligatures, rather than at explicit codepoints.

I agree, but explicit codepoints may be very helpful. I think that this
is the case with dynamics.

> RESTS
> In my experience, the old style quarter rest is normally a reversed eighth
> rest, rather than a vertically flipped eighth rest. Can you provide any
> context for this particular version?
You are right, the same single punch was used for both rests. But the
example looks correct to me, like a reversed quaver rest (or I'm too
tired). Anyway, I suggest adding the correct glyph.

> TIME SIGNATURES
> Can you provide any information about the "Open time signature 1" glyph?

This is the way the fragments without fixed time signatures are
indicated in some scores, especially by Polish composers, as it follows
Penderecki's notation. In older editions it was drawn as sans-serif.
Sometimes substituted with an enlarged turn sign.
Example of use: Paweł Mykietyn, String Quartett No.2, 2006, written on
commission and premièred by Kronos Quartet, published in print by PWM
Edition, Cracow, 2009.


> WIND TECHNIQUES
> - Is there a good source for the meaning of the individual embouchure
> symbols?
Respectively: more sharp, more flat,
relaxed embouchure, relatively relaxed embouchure,
tight embouchure, relatively tight embouchure, very tight embouchure
very relaxed embouchure (also: very weak air-pressure)
very tight embouchure (also: very strong air-pressure)

> - Likewise, what do each of the reed position symbols mean?
respectively: normal, very little reed (pull outwards), much more reed
(push inwards).


Some references:
Claus-Steffen Mahnkopf, Peter Veale, Die Spieltechnik der Oboe,
Bärenreiter, Kassel, 1994;
Hiroshi Koizumi, Technique for Contemporary Flute Music: for Players and
Composers, Schott, Tokyo (?), 1996;
Henri Bok, New Techniques for the Bass Clarinet, Editions Salabert,
Paris, 1989.


Additionally, I would like to suggest at least stylistic alternates of
reed position for double reed instruments. And perhaps more symbols are
to be included in this block.

> CLEFS
> What are the combining C clef and combining bridge clef typically used
> for?
I suggest combining C clef for proper setting in cues or at clef change
in vocal scores (tenor part following soprano on the same staff). This
element must always be placed on the third space, rather than rescaled
together with g-clef.

Combining bridge clef is to accompany treble, or treble transposing an
octave up clef (perhaps alto clef, too). It is used for col legno
battuto, where the precise pitches rely not on the l.h. fingering, but
on the place the string is struck.

> NOTEHEADS
> I've not come across the kinds of variations you have created for shaped
> noteheads with characteristics of breve, semibreve and minim noteheads.
> Can you provide a bit more context for these noteheads and why you think
> they should be included?

Similar variety of noteheads is provided in LilyPond (the minim and
semibreve variants have no shadings, they differ just by slightly
adjusted size, but that's a question of design). I like the systematic
approach, as it enables some non-standard usages, that may helpful for
composers and scholars (e.g. analytic diagrams consisting from many
layers with swapping voices).

Concerning the question of design, I would like to say, that I consider
notes with special noteheads as a valid musical symbols that deserve
some basic typographical feeling, like differentiation of pen angle for
minim and semibreve, exactly as for the basic noteheads. This variety of
noteheads looks perhaps somehow awkward in glyph list, but in an
engraved score these noteheads look just right. And, as I said, breve
variants are included only for completeness.

> SPECIAL LINES
> My gut feeling about these proposals is that the line with both variable
> amplitude and frequency is going a bit far for a standard music font;
> perhaps the same is also true for the circular motion line. Can you
> provide a specific justification for why you think these lines are
> standard enough to be included in the standard?

1. Lines like that (and more complex) are frequently used for percussion
and in chamber music in contemporary scores.
2. There is no support for direct drawing these lines in major applications.
3. Fiddling around with segments is in some circumstances more effective
than embedding graphics or postprocessing the score and parts.

--
Emil Wojtacki

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