NOTATIO

I have Fravura, but it doesn't have the more unusual glyphs that I was interested in. But it is good for comparing the more common characters to other fonts. Now that I understand how easy it is to access the non-compatible fonts, I will just take what I need, defined as articulations. I find that I...

Thanks, Knut. Sorry about this, but it is unfamiliar territory for me, and I haven't found much help online. When I open a Finale default document with Bravura as my default font, I see an ampersand and a strange time signature sitting high on the staves. The whole measure rests have been replaced b...

Great catch, Ere. Yes, it's a different modernization, but I think it might be just as bad, because, in the wrong hands, it invites too long a hold and possibly emphasis of the final passing tone. The (rit.) does helps, but not perfectly. The Breitkopf is so incomprehensible and impossible to do lit...

I recently came upon another of these special fermatas in the very famous Schubert Impromptu in Gb, op. 90. no. 3. The Wiener Urtext Edition (I assure the reader that I have no vested interest in the company) has the following authentic version, as reengraved by this poster: Fermatissimo.jpg I wonde...

Thank you, Knut and RMK. I'm not accustomed to using fonts that are not compatible with Finale, so I had a little catching up to do. I did install both Bravura and Norfolk and can access them now. (But I had no luck loading any of the three .lib files that come with Norfolk into a file.) Is it corre...

I think that you have the right answer, Ere, it is just a house rule common at that time and place, as Knut implied. It is no anomaly, just tunnel vision on my part. It often produces a very good result: the main melody note sits directly over the chord, but this is only accidental. When there is no...

There are symbols from Bravura that I would love to use in Finale 2014d; for example, the RH, LH bracket indications. Is this possible, and if so, how? I would need a step-by-step tutorial.

Thank you, Daniel. That explains why I have never been completely satisfied with the G clef and the the black notehead in so many fonts that I have seen; it is apparently a very personal thing.

I did enjoy the process very much; it was as close to sculpting as I will probably get!

I am still trying to understand why the angle difference doesn't both me at all when the m is bolder. Perhaps it is because the font weight unifies the secondary and primary elements.

So, I guess the strongest argument in favor of "accidental first" as being the "natural" order is that that is the way we now write it in musical notation: the accidental first and then the note or in this case a number representing a note. Why and how this has come to be is an i...