NOTATIO

Here is the smoother (I hope) version of my clef in action. As before, everything is slightly stretched in the horizontal direction when placed inline. Note that the Maestro noteheads appear wider than usual. Sorry it's so big, but I wanted it large enough to inspect the smoothness and also see it i...

Inkscape does have a spiral tool and it helps a lot. I was horrified to see how uneven some of it was. I had done a different clef before this one and spent more time refining. Then, when this one turned out better in terms of proportion etc. I was so happy I "forgot" to do the final smoot...

Thanks again, for the tips, Knut. I didn't realize that the curves were actually parts of perfect circles which should help. Perhaps I can draw the circles and attempt to fit them against the traced image for comparison purposes. I tried doing the fine tuning in FontForge, but with little success. P...

Thank you again, Knut.Those are very helpful insights into this process. Does this method work with a traced image that already has nodes in place? And can I do it in Inkscape? I was smoothing entirely by eye by adding and subtracting nodes while comparing to the original.

You are very welcome, Peter. Arnstein was a copyist from 1926-1989, the year he died. He was a friend of L. Bernstein and had known him since before WWII, when Bernstein was still an unknown. Peter West wrote: I have seen editions of Monteverdi where triple time is notated as 3/1, so a bar may have ...

Knut, thank you so much for your positive reaction and very detailed help with this clef. I will endeavor to put it to good use and post a new result when I think that it is ready. I am learning so much through this endeavor!

I am sorry, MJCube, that it has taken me so long to respond to your wonderful observation. I can think of only one possible explanation for this anomaly: it positions the fermata under the more important tone (or more from the engraving point of view: the outer note), E. Later the passage occurs in ...

Arnstein rarely worked for session players, but almost exclusively for the major opera companies and orchestras in the US and abroad. From a previous thread: "He prepared the parts for orchestral and operatic works by Samuel Barber, Leonard Bernstein, Gian-Carlo Menotti, Virgil Thomson, William...

Thanks, OCTO. Knut pointed out that it needs more smoothing, which I will do. I may also make it just a little smaller. It may be almost too dominant in Maestro.

Thank you, OCTO. Wess's subtleties sometimes go right over my head. It must be the broken slur that you admire. But as much as I admire Wess's incredible work, I still don't like slurs and accidentals intersecting, even if broken. To me a slur is unbroken because it represents something unbroken: th...