From: Mark Johnson
>> I don't personally think it should be included, since it's really just
>> two existing glyphs overlapped, rather than a distinctive glyph in its
>> own right.
> I agree that it needn't be included (though those I've seen were indeed
> distinctive). I recall it only in English scores, e.g., Novello, so to me
> it seems a local rather than a universal notation. The modern way of
> placing two noteheads touching takes no more horizontal space than seconds
> ('back' notes) and the usual slight overlap makes it clear they're
> simultaneous.
I tend to think of a 'font' as a collection of symbols in a homogeneous
style: eg Times New Roman and Comic Sans - they have (more or less) the same
collection of symbols (in the sense of syntax), but you wouldn't expect a
glyph from one in the other. I think of music fonts in the same way - the
symbols in a 'jazz font' say would be different in appearance from a
'classic font'. No surprises there perhaps.
But the illustration shown here recently of two overlapping semibreves,
relies on having a font in which they can be overlapped and still be clear:
in particular a wide symbol with thin strokes and a gaping hole in the
middle. Having tried it with a modern standard 'classical' semibreve which
has a small hole and very wide strokes either side, it just doesn't work.
And the modern standard is to draw them touching rather than overlapping.
I'd expect that music software using Bravura would adopt that style, and any
single 'overlapping semibreves' symbol would either be illegible or
completely out of character with the rest of the font - like having a
character in Times New Roman which could only be successfully drawn in the
style of Comic Sans.
So if a font has semibreves which are are legible when overlapped, I would
expect the software using the font to do the overlapping when desired, and
if it hasn't. it wouldn't.
Dave
David Webber
Mozart Music Software
http://www.mozart.co.uk/#############################################################
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