# Can fonts help with expression in scores?



## Rodney Money (Sep 16, 2017)

Just to warn you, but this is going to be a weird, abstract post that many of us never even consider. Lately, I have really been interested in the use of fonts in compositions and wondering could the look of the score subconsciously help the performer to place more "emotion" into the overall performance or interpretation itself? This thought process of mine came from hearing some musicians who love playing the handwritten versions of Bach's works because they could see the flow of the music itself, or how certain pieces published in the old style of engraving just "begged to be taken seriously." I am thinking a hard cover book full of illustrations and maps vs. a paper back version with just the words. Maybe I'm thinking too much, or maybe I'm just sick of Maestro font, but I would love to hear your thoughts concerning this subject. The score example was first created in finale by me with a couple of fonts called Baker Script for the words and Leipzig 1803 for the notation. Fonts for notation are kind of like samples for recording costing me close to $100 for the both of them. Then, this version was graciously further rendered by @re-peat in Photoshop which maybe he can generously elaborate on his wonderful process if he so wishes. Thank you again, my friend, it meant the world to me, and I am absolutely blown away by your talent.


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## Rodney Money (Sep 21, 2017)

More experiments with fonts today using some old hymn fonts contrasted by some modern notation. Nothing serious, just some experiments using the opening lick from movement 6 out of 7 of my trumpet concerto. I'm getting there, lol.


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## tav.one (Sep 21, 2017)

Fonts, colors, backgrounds change the way I perceive/feel everything (Online & Real Life)
Not everyone is sensitive to them though

I loved the first picture of the score, it really inspired me to play it & I'm sure I'll play it with a very different character because of the way you used fonts, colors, and so on.


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## JJP (Sep 22, 2017)

The first example is problematic for me if the intention is for someone to perform the piece from this music. If it's meant to be a work of art for a book or hung on a wall, then it's fine.

If a performer is expected to use the first example to perform, it's a travesty. That's a bit like handing someone a speech to read to an audience and saying, "I spilled coffee on the page and changed the fonts to archaic calligraphy to make them harder to read. That should give you inspiration. Now go out there and deliver your speech!" They just want the words presented clearly so they can focus on speaking. Instead they have to work harder simply to read what's on the page.

The second version is passible, but not ideal. The narrow noteheads don't help to lead the eye across the page and are harder to read quickly than todays' common ovals. The dynamic letters fade out (like the top of the "p") making them more difficult to read, and the number "2" bleeds and may require a second glance if the eye scanning across the page at tempo.

My philosophy as a copyist is that performers have enough stress just performing. The printed music should not add any more stress and should reduce it if possible. Again if this is for artistic display, I have no problem. I would not happily put either of these in front of a performer.


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## cmillar (Sep 22, 2017)

In the real professional world of horn players for example, where free-lance professionals have to be able to sight-read music (ie: studio session work, Broadway-type show work, society bands for weddings, etc. etc.) the music manuscript has to be as easy to read as possible.

It's an art unto itself...and the best copyists/engravers help develop fonts, lines, expression marks, spacing systems, etc. etc. to make life as easy as possible for the musicians.

The 'old looking' manuscript is nice and artfully done....great work!

Does anyone want to 'revert' back to having to sight-read anything resembling that?

No.

Even the so-called 'handwritten jazz fonts' in Finale and Sibelius don't really cut it in the real world.

The most in-demand engravers use very 'classic' looking fonts for all the work that depends on musicians having to read music at first site or for very demanding performance situations.

But you know all this.....this message is for those that don't know any of this.

For anyone who is new to the world of copying music and having to get their own music ready for performance, please go and see what the standards are for real-world professionals.

Mind you, most of the great pros (like LA studio musicians) can site-read 'fly shit from 50 feet away' regardless of the scribble on the page!

The art of copying music is a fascinating subject.


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## Rodney Money (Sep 22, 2017)

Thanks guys for your input which is truly awesome. I will tell you this though, the first page alone was absolutely perfect for plugging, teasing, and promoting on one of the largest trumpet forums in comparable to this forum. I had those trumpet players ready to purchase the concerto then and there, but the one who commissioned the work said, "Not until after after my premier!" Lol. It was all in good fun.


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