nycmusicservice.com
NYC Music Services - Resources
http://www.nycmusicservice.com/musicresources.html
Music copying, engraving, orchestration and more. Music Prep and Printing. Norfolk font for Sibelius. The Norfolk family of fonts is a derivative of Bravura. That is expressly reconfigured to work within Sibelius. Bravura is the first SMuFL. Compliant music font family, designed by Daniel Spreadbury at Steinberg. For its in-development scoring application. Norfolk Special II Std. Norfolk Special Extra Std. Each Norfolk font is intended as a replacement for its analogous Opus font, with the exception of:.
nycmusicservices.com
NYC Music Services - Resources
http://www.nycmusicservices.com/musicresources.html
Music copying, engraving, orchestration and more. Music Prep and Printing. Norfolk font for Sibelius. The Norfolk family of fonts is a derivative of Bravura. That is expressly reconfigured to work within Sibelius. Bravura is the first SMuFL. Compliant music font family, designed by Daniel Spreadbury at Steinberg. For its in-development scoring application. Norfolk Special II Std. Norfolk Special Extra Std. Each Norfolk font is intended as a replacement for its analogous Opus font, with the exception of:.
matthewmaslanka.blogspot.com
Adventures in Music Engraving: Behind Bars readthrough: Chapter 1: Stem thickness and Center line direction
http://matthewmaslanka.blogspot.com/2011/07/behind-bars-readthrough-chapter-1-stem.html
Adventures in Music Engraving. Wednesday, July 13, 2011. Behind Bars readthrough: Chapter 1: Stem thickness and Center line direction. Welcome back to the readthrough for Behind Bars. To get started, you can see the previous posts in the series: Introduction. And Staves, clefs and noteheads. In this post, I cover stem thickness. Stephen Powell in Music Engraving Today. Edward Tufte, the information display guru, suggests that stave lines are a form of "chartjunk," clutter that obscures the data in an inf...
matthewmaslanka.blogspot.com
Adventures in Music Engraving: Hammered glissando for percussion
http://matthewmaslanka.blogspot.com/2012/01/hammered-glissando-for-percussion.html
Adventures in Music Engraving. Monday, January 16, 2012. Hammered glissando for percussion. I was recently required to make a glissando for mallet percussion instruments that asked the performer to hammer all the way through rather than just slide the mallet across the bars. The standard way to indicate articulation in a glissando is to have headless stems with the desired rhythm. This was my first proposal, but it fails to fully capture the requirement:. Posted by Matthew Maslanka. A nice, clear solution.
blog.steinberg.net
Development diary, part 10 | MAKING NOTES
http://blog.steinberg.net/2015/03/development-diary-part-10
Development diary, part 10. March 6, 2015. Bull; Daniel Spreadbury. As a wise man once said, there are as many rules of music engraving as there are music engravers. This is a joke, of course, but perhaps only half of one: although there are certain aspects of how music notation should be presented that more or less everybody can agree on, there are many more that provoke lively debate. You can click on all of the images in this post to view them at a larger size.). Three steps to (beaming) heaven. There...
matthewmaslanka.blogspot.com
Adventures in Music Engraving: My ultimate engraving project
http://matthewmaslanka.blogspot.com/2012/01/my-ultimate-engraving-project.html
Adventures in Music Engraving. Friday, January 27, 2012. My ultimate engraving project. Does anyone remember the "Faerie's Aire and Death Waltz? I remember seeing this extraordinary piece of engraving hanging on many music school bulletin boards. I had no idea that the fellow behind this work was responsible for two more lesser-known works of the same type. The story behind the man, John Stump and high-resolution scans of his pieces can be found here. From the Lost in the Cloud blog post referenced above:.
matthewmaslanka.blogspot.com
Adventures in Music Engraving: Optimal Horizontal Dynamics Placement
http://matthewmaslanka.blogspot.com/2012/02/optimal-horizontal-dynamics-placement.html
Adventures in Music Engraving. Thursday, February 2, 2012. Optimal Horizontal Dynamics Placement. Standard dynamic placement isn't treated with much depth in the major texts, but two main objectives are evident:. Gould: "Centre the dynamic on the notehead" (p. 102). Ross: "A multiple mark straddles the stem of the notehead which it is beneath" (p. 186). Click for larger version). I will be interested to hear your thoughts! It would be very nice if the software packages were able to make these adjustments...
matthewmaslanka.blogspot.com
Adventures in Music Engraving: Behind Bars readthrough: Introduction
http://matthewmaslanka.blogspot.com/2011/05/behind-bars-readthrough-introduction.html
Adventures in Music Engraving. Wednesday, May 18, 2011. Behind Bars readthrough: Introduction. Elaine Gould's Behind Bars. Is a fantastic new reference work on all aspects of music notation. Over the next 6 months, I will be covering a chapter per week, summarizing the content and commenting on various issues that arise in the text. I will welcome thoughts and comments from the community as I progress through the material. Summary: The need for notational standards. As an engraver, my goal is to facilita...
matthewmaslanka.blogspot.com
Adventures in Music Engraving: Behind Bars readthrough: Chapter 1: Staves, clefs and noteheads
http://matthewmaslanka.blogspot.com/2011/06/behind-bars-readthrough-chapter-1.html
Adventures in Music Engraving. Thursday, June 2, 2011. Behind Bars readthrough: Chapter 1: Staves, clefs and noteheads. Ground Rules: in which the basics of notation are established and expounded upon. For an introduction to this project, see the first post. British naming conventions are in use: stave, crotchet, minim, etc. I shall use her terminology where applicable and revert to standard American where appropriate. Gould outlines the basic clefs: treble, bass, and the various C clefs. She recomme...
