I tend to agree with David that this glyph should be given a little more attention.
Graphically this is not "just two existing glyphs overlapped” since the either sides of the two whole overlapping notes must be made way less fat to work.
Secondly, there are many symbols in SMuFL that are far from “universal” - if not to say of some extremely rare usage.
And I think that is the beauty of SMuFL : to avoid the temptation of being *too much* universal while creating a new standard. It’s a tricky balance and I think SMuFL has got it right.
As an active musician (dealing with early as well as comtemporary music) I find it personally very inspiring to come across symbols that I had never seen before. It makes wonder and dream...
That said, I have a great deal of glyphs specific to November 2.0 but I don’t want to overwhelm this little community will all these at the moment… I can send the November 2.0 font map privately to anyone interested (rather advanced beta).
Robert
PS: for what it’s worth, I’m adding the overlapping whole note unison to November 2.0… noteheadWholeUnisonOverlap… U+F666 ;-)
> On 29 Dec 2014, at 07:52, Mark Johnson <
[hidden email]> wrote:
>
>> 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.
> MJ
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