NOTATIO

Hi John,

I have no idea why the screen shots appeared in reverse order – Nº4 is 1, 3-2, 2-3, 1-4.
Any way.

About the peddling – long, very long ago I stopped sending my critics to some composers that I work with. Everyone knows why and must take its own responsibility. However, I can't agree more with you about pedalling.
"sempre ppp (Echo)" – could be really better aligned, indeed. Thank you spotting this.

About the peddling – long, very long ago I stopped sending my critics to some composers that I work with. Everyone knows why and must take its own responsibility

Very wise advice. I wish I had taken it about 20 years ago!

Wess, I am sorry that some of these composers don't know good advice when they hear it.

John Ruggero wrote:OCTO, is your screen shot a suggestion for improvement?

It is actually not a suggestion but my fascination by Wess' engraving virtuosity...

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: the unbroken connection between the notes.

John Ruggero wrote:To me a slur is unbroken because it represents something unbroken: the unbroken connection between the notes.

I totally agree!

Inspired by Wess' excellent italic font, I've begun more serious work on my own version, meant to complement dynamics, Octave signs and tuplet numbers in the music font, and fit together well with Century style serifs. I'll post more samples when the basic capitals are all done. For now, here's a small sample of the beginnings.
Thanks, Wess, for the inspiration!

Very nice Knut!
Can you put it in a context?

OCTO wrote:Very nice Knut!
Can you put it in a context?

Thanks, OCTO!

As I said I will post more samples when the basic character set is done, and I'm free to write any text necessary. For now, since you're a Violinist, here's a couple of examples from Tzigane by Ravel:

The first one is the beginning (with an expressif marking not originally placed at the beginning), so you may compare different font styles. The regular styles featured are New Century Schoolbook, a likely pairing with this kind of italic.
The second example shows the fairly important size and line width in relation to a composite dynamic. Notice that my primary dynamics ( and ) are bold, while the secondary dynamic characters, like , and , are of the same semibold weight as the italic font. This is a not uncommon feature in many publications, and a nice way of making the italic font blend in with the dynamic symbols, considering the inherent size differences of primary and secondary dynamic characters.

Looks well!

Two things: I think that thin lines are to thin or to say, bold are to bold. Something in-between for my taste I would like more...
Another: what if you have the accidentals somehow bigger, if 24, try with 25 or 26. Just as a test.