NOTATIO

I agree that this in-between solution isn't really optimal for either case. Either show us the extremes of what can be achieved with the program or the bare default.

To me, the SCORE treble clef stands head and shoulders above the rest of its font, which feels cold and clinical to me. But, short of hand-engraved clefs or a few computer examples (Abraham's fonts or November), that clef is probably the best I've seen. The other issue with SCORE is that its output ...

I am sorry, Schonbergian, I don't understand why the slur would be have to be more tapered than usual if brought to the note heads. In the example that you provided and engraved, the slur doesn't quite reach the noteheads and it's already quite curved. Making it reach the noteheads at any cost woul...

As unintuitive as it may sound, the larger noteheads actually aren't too large for the staff at all. It's well-known that round objects appear smaller than they are, and if they are left at the "correct" size the notes will just disappear into the background. This "overbleed" is ...

Re:notehead size - I agree with Ben's notehead size but the staff lines need to be much thicker to compensate, otherwise it's imbalanced. I'm also not a fan of the shape of the Engraver noteheads. Re:slurs - this is a perfect example of when insisting on the slurs meeting the noteheads won't result ...

Thicker staff lines require correspondingly larger and heavier noteheads to match, in addition to other suitably heavy elements. Opus (like most modern music fonts) has relatively anemic noteheads and is designed with a very light line weight in mind (not to mention the other horrific design elemen...

Thicker staff lines require correspondingly larger and heavier noteheads to match, in addition to other suitably heavy elements. Opus (like most modern music fonts) has relatively anemic noteheads and is designed with a very light line weight in mind (not to mention the other horrific design element...

OCTO wrote: ↑25 Mar 2017, 06:02

Schonbergian wrote: ↑23 Mar 2017, 23:36 Roman: IM Fell Great Primer, 14pt

You really want to simulate the old punching?

Of course! The old style with heavy typefaces and larger noteheads (IMO) reads better and looks awesome. Modern music/text fonts are for wimps - embrace the punching and ink!

I agree with the practice of many members here of putting major alterations in roman and minor ones (rit., etc.) in italic. It helps one to easily differentiate between the two of them. My usual sizes and typefaces are: Roman: IM Fell Great Primer, 14pt Italic: EB Garamond, 15pt Regarding positionin...

If I understand your situation correctly, the solo/tutti distinction only relates to the first violin section, and the tutti marking would therefore go in measure 83.