Version history

Version 1.40 (2021-03-15):

Version 1.30 (2019-01-14):

  • This specification is now published under the terms of the W3C Community Final Specification Agreement (FSA) (#38)
  • Added dynamicCombinedSeparatorSlash (U+E549)
  • Added keyboardPedalParensLeft (U+E676) and keyboardPedalParensRight (U+E677)
  • Added new Chord symbol accidentals range (U+ED60-U+ED66)
  • Added new glyphs to the Fingering range, with digits between 6 and 9, parentheses, brackets, and middle dot separator
  • Added new Kahnotation range, with thanks to Matthew Dougherty, Sam Katz and Sam Weber (U+EDA0–U+EDF1) (#58)
  • Added new German organ tablature range, with thanks to John McKean (U+EE00–U+EE3F) (#72)
  • Added new Clefs supplement range, including new universal Indian drum notation clef (U+ED70)
  • Added new Fingering supplement range, with italic fingering digits, parentheses and brackets (U+ED80-U+ED8D)
  • Added more separators for brass fingering (U+ED2D–U+ED2E) to Fingering range
  • Added pictBeaterMalletDown (U+E7EC), pictBeaterBrassMalletsRight (U+E7ED), pictBeaterBrassMalletsLeft (U+E7EE), pictTriangleBeaterPlain (U+E7EF) to Beaters pictograms range (#73, #66)
  • Added vocalHalbGesungen (semi-sprechgesang) to Vocal techniques range (U+E64B) (#68)
  • Added separate glyphs for upper dot, lower dot and central slash (U+E503–U+E505) to Bar repeats range, to allow construction of bar repeats for arbitrary number of bars (#62)
  • Added lyricsTextRepeat glyph (U+E555) to Lyrics range (#61)
  • Added one-handed roll (U+E233) and double lateral roll (U+E234) for mallet percussion, popularised by Leigh Howard Stevens, to Tremolos range (#56)
  • Clarified legerLineExtension engraving default scales according to notehead size (#70)
  • Clarified that bounding box cut-out coordinates are relative to the glyph origin, i.e. its bottom left-hand corner (#90)
  • Added recommended optional glyphs for tuplet digits in lighter weight to the Tuplets range
  • Added recommended optional glyphs for optical variants for some chord symbols glyphs, e.g. +/- for augmented/diminished chord quality for the Chord symbols range
  • Added recommended optional glyphs for optical variants for chord symbol accidentals shown at smaller sizes for the new Chord symbol accidentals range
  • Added recommended optional glyphs for oversized versions of the Slash notehead range
  • Added recommended optional glyphs for new large, narrow bold serif time signatures in Time signatures and Time signatures supplement ranges
  • Expanded range of recommended optional glyphs for large, narrow sans serif time signatures to complete Time signatures and Time signatures supplement ranges

Version 1.20 (2016-04-25):

  • Added double whole note slash notehead (U+E10A) (#19).
  • Added double-slashed black and white round noteheads, often used to denote striking piano strings (U+E11C, U+E11D) (#22).
  • Added irregular tremolo mark, used by Stockhausen (U+E232) (#48)
  • Added square brackets for editorial accidentals (U+E26C, U+E26D) (#10)
  • Added equal-tempered quarter-tone flat and quarter-tone sharp, combining glyphs to raise and lower by a 53-limit comma, and tilde and equals characters to indicate enharmonic equivalence, to the Extended Helmholtz-Ellis accidentals (just intonation) range (U+E2F5-U+E2FB) (#24)
  • Added quarter-tone sharp and flat accidentals, used by Ferneyhough (U+E48E, U+E48F) (#23)
  • Added parentheses and brackets for hairpins (U+E542–U+E545) (#42)
  • Added hyphen, colon, and space separators for use in combined dynamics, e.g. p-mp (U+E546–U+E548) (#43)
  • Added brass valve trill to Brass techniques range (U+E5EF) (#25)
  • Added wind mouthpiece pop and rim only to Wind techniques range (U+E60A, U+E60B) (#25)
  • Added bow behind bridge on one, two, three, or four strings to String techniques range (U+E627–U+E62A) (#26)
  • Added nasal voice (#27), tongue click, finger click, and tongue and finger click (as used by Stockhausen) to Vocal techniques range (U+E648–U+E64A) (#49)
  • Added L and reversed-L hooks used instead of Ped. to start and stop sustain pedal indications to Keyboard techniques range (U+E672, U+E673) (#17)
  • Added pedal-to-heel and heel-to-pedal transitions to Keyboard techniques range (U+E674, U+E675) (#28)
  • Added damp low strings, damp with both hands, damp below, damp above, metallic sounds on a single string, isolated sounds, and snare drum techniques as used by Salzedo to 'Harp techniques' range (U+E697–U+E69D) (#29)
  • Added clockwise variant of scrape around rim to 'Percussion playing technique pictograms' range (U+E80E) (#30)
  • Added full barré and half-barré to Guitar range (U+E848, U+E849), plus recommended stylistic alternate with horizontal fraction slash for half-barré (#14)
  • Added unconducted/free passages to Conductor symbols range (U+E89A) (#31)
  • Added upper case F, I, K, L, and lower case i, k, l, glyphs to existing Function theory symbols range (U+EA99–U+EA9F), plus a new Function theory symbols supplement range including upper case M and N, and lower case m and r (U+ED00–U+ED03) (#32)
  • Added "cut 3" to Time signatures supplement range (U+EC86) (#16)
  • Added diminished 7 to new Figured bass supplement range (U+ECC0) (#9)
  • Added new Shape note noteheads supplement range containing double whole note versions of all of the different notehead shapes in the existing 'Shape note noteheads' range (U+ECD0–U+ECDD) (#18)
  • Added turned time signature digits, common time and cut common time (U+ECE0–U+ECEB) (#21)
  • Added reversed time signature digits, common time and cut common time (U+ECF0–U+ECFB) (#21)
  • Added new Fingering range, containing digits bold 0–5 suitable for keyboard fingering, and a variety of symbols used in guitar fingering (U+ED10–U+ED23) (#34)
  • Added new Arabic accidentals range (U+ED30–U+ED38) (#44)
  • Added new Articulation supplement range containing so-called "soft accent", plus combinations with staccato and tenuto (U+ED40–U+ED47) (#35)
  • Added new Stockhausen accidentals (24-EDO) range (U+ED50–U+ED5E) (#51)
  • Added stylistic alternates for cClef and cClefChange in the style of 20th century French publishers (#11)
  • Added stylistic alternates for 15/22 octave markings using 16/24, as used by some 20th century French publishers (#20)
  • Added stylistic alternates for wiggleArpeggiatoUpSwash and wiggleArpeggiatoDownSwash based on Couperin's L'Art de Toucher Le Clavecin (#33)
  • Changed the appearance of clefBridge (U+E078) to match the design used by Lachenmann in ...zwei Gefühle... and added a stylistic alternate with the previous design (#8)
  • Changed specification for font metadata locations on Linux to match the recommendations of the XDG Base Directory Specification (#39).
  • Converted license for SMuFL specification from MIT License to W3C Community Contributor License Agreement (CLA) Deed (#37).
  • Fixed the appearance of figBassRaised5 to have a forward slash rather than a backward slash, the correct appearance for a diminished fifth (U+EA5A) (#9)

Version 1.19 (2015-08-07):

  • Corrected implementation notes to clarify how brace glyphs should be handled by consuming applications: rather than scaling them only in the vertical dimension to fit the height of the staves being braced, they should be scaled proportionally.

Version 1.18 (2015-05-18):

  • Added specification of locations for font-specific metadata to be installed on Windows, OS X, and Linux, to aid consuming applications in the identification of SMuFL-compliant fonts.

  • Added recommendation that characters in ranges that will typically be drawn using runs of text (e.g. time signature digits, octave line labels, figured bass, and function theory symbols) should have appropriate non-zero side bearings.

  • Reworked the triangular clefs in the Clefs range between U+E06F and U+E072 to match the descriptions given of their use by Schäffer in Karkoschka’s book. This involved changing the names and descriptions of these glyphs as follows: U+E06F was cClefTriangular, now schaefferClef; U+E070 was fClefTriangular, now schaefferPreviousClef; U+E071 was cClefTriangularToFClef, now schaefferGClefToFClef; U+E072 was fClefTriangularToCClef, now schaefferFClefToGClef.

  • Added z-style quarter (crotchet) rest to the Rests range.

Version 1.17 (2015-04-29):

  • Added specification of new optionalGlyphs structure for font-specific metadata to provide information about non-core glyphs included in fonts.

  • Added specification of the name of the glyph for which the glyph in a stylistic set is an alternate to the sets structure in font-specific metadata.

  • Added new implementation notes concerning noteWholeEmpty, noteHalfEmpty, and noteBlackEmpty in the Note name noteheads range.

  • Added new Metronome marks range, with stem up and stem down notes intended to be proportioned for setting in line with characters from a regular text font; specifically, it is recommended that stems are shortened by 0.75 spaces from their default length.

  • Clarified role of Individual notes range, which is that notes in this range are intended for drawing on a stave, and as such should have the default stem length (3.5 spaces minimum).

  • Added baseline and superscript italic a, b, m, and v characters to the Octaves supplement range, to allow the creation of arbitrary octave line markers beyond those included in the Octaves range.

  • Added marcato-tenuto above/below composites to the Articulation range.

  • Added alternative “raised 6” character to the Figured bass range.

Version 1.12 (2015-01-07):

  • Added specification of new noteheadOrigin anchor points for the glyphsWithAnchors structure to help with the correct alignment of noteheads that have left-hand side bearings with those that do not.

  • Added specification of new opticalCenter anchor points for the glyphsWithAnchors structure to help with the correct balancing of glyphs that should be centered on noteheads and stems (e.g. dynamics)

  • Added new Time signatures supplement range, with square brackets for the whole time signature and numerator only, the slash separator sometimes used for interchangeable time signatures, and new timeSig2Cut glyph, used by Bach and other composers of that period as an alternative to the normal cut common (alla breve) symbol.

  • Added new Octaves supplement range, with loco text (octaveLoco). Revised the existing Octaves range, correcting the recommended appearance of the ottava bassa, quindicesima bassa, and ventiduesima bassa glyphs, and adding new glyphs for commonly-used but incorrect abbreviations for these glyphs.

  • Added missing stem down noteheads for smnSharp and smnSharpWhite in the Simplified Music Notation range.

  • Added Salzedo’s symbols for ascending and descending Aeolian chords to the Harp techniques range.

  • Added short, medium, and long smooth lifts to the Brass techniques range.

  • Added Hauptrhythmus and Choralmelodie, as used by Alban Berg, to the Analytics range.

Version 1.0 (2014-06-16):

  • Now that SMuFL has reached 1.0, the code points and glyph names for all current glyphs will not change in future revisions.

  • Added specification for new splitStemUpSE, splitStemUpSW, splitStemDownNW and splitStemDownNE anchors in font-specific metadata to define stem connection points for altered unisons.

  • Added punctum deminutum (chantPunctumDeminutum) glyph to Medieval and Renaissance plainchant single-note forms range.

Version 0.99 (2014-06-02):

  • Modified the specification of the glyphsWithBBoxes structure in the font-specific JSON metadata such that the glyph’s name is the primary key, rather than the value of a name key, which makes it easier to consume this data.

  • Added an optional description key to the sets structure in the font-specific JSON metadata, to contain a human-readable description of a stylistic set.

  • Added a new fourth value to the type key for the sets structure, for large time signature digits intended for drawing outside the staff.

  • Added specification of new graceNoteSlashSW, graceNoteSlashNE, graceNoteSlashNW and graceNoteSlashSE anchor points for the glyphsWithAnchors structure to help with the correct positioning of slashes on stem up and stem down flags of unbeamed grace notes.

  • Added specification of new repeatOffset anchor point for the glyphsWithAnchors structure to help with the correct registration of tessellating glyphs.

  • Added clarifications in the glyph registration guidelines for fonts intended for use in scoring applications that parentheses glyphs may have negative side bearings to improve default kerning of these glyphs with the symbols they are intended to bracket; likewise, tessellating glyphs (such as the wiggle that follows the  symbol) may have negative side bearings to produce correct tessellation when set in a single run of text.

  • Added 8 and 15 digits scaled correctly for positioning on G and F clefs.

  • Added recommended stylistic alternates for common time, cut time and + intended for use as large time signatures printed above the staff.

  • Added a set of noteheads enclosed in large circles, used by some drummers.

  • Added an ornate X notehead contained within an ellipse.

  • Added Couperin’s pincé and tremblement appuyé ornaments.

  • Redesigned the thumb position string technique glyph to more closely resemble a zero digit, and added a turned version.

  • Added a zero-width rectangle intended to enclose single percussion beaters inside a box.

  • Added strum direction arrows for guitar, and a stylistic alternate for the golpe glyph as used by Antonis Vounelakos.

  • Added an additional raised 7 digit for figured bass.

  • Added left- and right-pointing arrows for use in metric modulations.

  • Added recommended ligatures for combining Johnston accidentals with standard sharp and flat accidentals.

  • Removed the ranges of glyphs for wind instrument fingering charts.

Version 0.9 (2014-04-17):

  • Expanded the specification of font-specific metadata to include new structures to describe stylistic alternates, stylistic sets and ligatures present in fonts for applications that cannot access advanced font features.

  • Defined new values for the “glyphs” structure in font-specific metadata to describe cut-outs from the four corners of a glyph’s bounding box, in order to allow better kerning or interlocking of glyphs in some circumstances, e.g. when stacking accidentals; also renamed this structure to “glyphsWithAnchors” to clarify its purpose.

  • Defined specification for new ranges.json file, which provides information about the ranges of glyphs described in this specification in a machine-readable fashion.

  • Added initial glyph registration and font metrics guidelines for fonts intended for use in text-based applications.

  • Added new range for Kodály solfège hand signs.

  • Added new range for Peter Hayes George’s Simplified Music Notation.

  • Added narrow and wide versions of the sine wave, square wave and sawtooth wavy lines in the Multi-segment lines range.

  • Added wide versions of the black and white diamond noteheads, as used in some handbells music.

  • Added turned (i.e. inverted) versions of up bow and down bow marks.

  • Added oriscus liquescens to the Medieval and Renaissance plainchant single-note forms range, and moved punctum auctum inclinatum and punctum auctum diminutum to this range.

  • Added strophicus liquescens (for intervals of a second up to a fifth) to the Medieval and Renaissance plainchant multiple-note forms range.

  • Added oblique ligature forms for mensural notes describing intervals of a second up to a fifth for black, void, black and void, and white noteheads to a new Medieval and Renaissance oblique forms range.

  • Added single glyph for right and left repeat barlines to the Repeats range, and a recommended stylistic alternate using thick-thick rather than thin-thick-thin barlines.

  • Added reversed versions of brackets to denote play with right/left hand in the Keyboard techniques range, to allow the demarcation of the end of a passage to be played with the other hand.

  • Added more recommended stylistic alternates for display on smaller staff sizes: time signature digits; G, C and F clef; black, half, whole and double whole noteheads; standard articulations; dynamics letter forms.

  • Added recommended ligatures for standard noteheads and accidentals in parentheses.

  • Added open arrowheads and arrows.

  • Added Kievan half note on space, and Kievan beam.

  • Added new percussion pictograms from the books by Sevsay and Peinkofer/Tannigel, plus new combining glyphs for stems showing the “crush” rudiment, “dead” notes, and to instruct the performer to turn the instrument.

  • Added five further mensural proportion signs, from Apel’s book.

  • Added 12 new pre-composed trills and mordents, based on Bach’s ornamentation chart and ornaments found in the Emmentaler font.

  • Added restHBarMiddle glyph, for text-based applications to construct H-bar multirests of variable width.

  • Added noteheadWholeFilled and noteheadHalfFilled, for modern transcriptions of coloration in Medieval and Renaissance music.

  • Consolidated breath marks into a single range, and added a new upbow-like breath mark (as used in music from Russia).

  • Added range of glyphs for lyrics, including three lengths of elision undertie, and baseline hyphen (as used in music from Russia).

  • Added a wider slash notehead, for whole note (semibreve) duration.

  • Added more shape note noteheads to support the 7-shape conventions of Joseph Funk and William Walker.

  • Added maxima rest, and double whole (breve) rest with leger lines above and below.

  • Added curved caesura.

  • Added separate glyphs for the ‘e’, ‘d’ and dot in keyboard pedal marks, plus a curved hyphen to be used along with the ‘P’ to show start/end pedal in some editions.

  • Added new mensural C clef, plus variations of the Petrucci C clef for different staff positions.

  • Added different custos for different staff positions.

  • Added stylistic alternates for the Medieval and Renaissance “soft b” flat accidental.

  • Added dedicated glyphs for C, G, and F clef changes, plus new combining clef change character to produce other clef change glyphs by way of glyph substitution.

  • Added one- and two-third tones sharp and flat accidentals as used by Brian Ferneyhough.

  • Added “just air” open diamond notehead as used by Brian Ferneyhough.

  • Added white and wide white diamond noteheads.

  • Added a range of glyphs for denoting accel./rit. beam lines above the staff.

  • Added normal, wide and narrow leger line glyphs.

Version 0.85 (2014-03-09):

  • Updated glyph registration guidelines for articulations, such that articulations above the note should be positioned sitting on the baseline, and articulations below the note should be positioned hanging from the baseline.

  • Quite a few changes to canonical glyph names, especially for accidentals, with the aim of making the names clarify the actual interval represented by each accidental (where that is unambiguous) in terms of fractions of a tone.

  • Added whole and half rests with leger lines, i.e. as if displayed outside the staff.

  • Added clef for diatonic accordion.

  • Added recommended stylistic alternates for C and F clef forms used in 18th century French music, and for an F clef form used in 19th century music across Europe.

  • Added recommended ligature for G clef with ligated 8 above.

  • Added half-brackets for keyboard notation to show notes that should be played by the other hand.

  • Moved staff divide arrows from the Miscellaneous symbols range to the (now renamed) Staff brackets and dividers range.

  • Moved the percussion swish arrow from the Miscellaneous symbols range to the Percussion playing techniques pictograms range.

  • Moved all the glyphs from the Quartertone accidentals (24-EDO) range to the (now renamed) Other accidentals range, eliminating the former range and moving the latter to the very end of all of the ranges of accidentals.

  • Further revisions to the plainchant ranges, including adding reversed virga, smaller version of punctum inclinatum, moving the punctum mora to the plainchant articulations range, and eliminating the precomposed podatus and clivis glyphs in favour of individual components that provide the means to construct these easily for any interval. Also added strophicus, strophicus auctus, punctum inclinatum auctum to the single-note forms range.

  • Added new range for Kievian square notation, as used for liturgical chant in the Russian Orthodox Church.

  • Added new glyphs for tabling one handbell and tabling a pair of handbells.

  • Added alternative pedal heel glyph and pedal heel or toe glyph to Keyboard techniques range.

  • Added recommended stylistic alternates for braces designed for use across different sizes of gaps, designed to be scaled uniformly rather than simply stretched vertically.

  • Added many new electronic music pictograms, including speaker configurations, more transport controls, additional hardware devices, and so on.

  • Added guitar fade in, fade out and swell glyphs.

  • Added the glyphs used in the Corpus Monodicum project to the Medieval and Renaissance plainchant in CMN range.

  • Added notes on the currently-defined classes in the JSON metadata file to the Notes for implementers section.

Version 0.8 (2014-02-03):

  • Based on community feedback, added clarification that code points for glyphs may change until SMuFL reaches version 1.0, after which point existing code points will become immutable.

  • Glyphs in SMuFL encoded in the primary range of U+E000–U+F3FF are no longer considered “mandatory”, but rather they are “recommended”: in order to be considered SMuFL-compliant, a font need not implement every recommended glyph, just as a text font need not implement every Unicode code point in order to be considered Unicode-compliant. Fonts need only implement those glyphs that are appropriate for their intended use at the correct SMuFL code points in order to be considered SMuFL-compliant.

  • Changed guidelines for metrics of text-like glyphs (e.g. dynamics, D.C./D.S. markings in repeats) in fonts intended for use in scoring applications, such that it is recommended that the x-height of such glyphs is around 1 staff space (0.25 em).

  • Added Ivan Wyschnegradsky’s system of 72-EDO accidentals.

  • Added Bosanquet’s comma up/down.

  • Dispersed the glyphs formerly in the Sagittal-compatible accidentals range to other ranges, and revised the canonical glyph names for Sagittal accidentals that describe specific ratios in order to make those ratios clearer.

  • Added slashed sharp/flat accidentals used by John Tavener in his Byzantine-inspired choral works.

  • Added left/right parentheses for accidentals.

  • Added new ranges for Renaissance lute tablature, covering French/English, Italian/Spanish and German conventions.

  • Added new ranges for fingering charts for flute, oboe, clarinet, bassoon, saxophone and recorder, as used in educational materials such as instructional or method books.

  • Added Britten’s curlew sign for a pause of an indeterminate length.

  • Added push/pull signs for accordion.

  • Added separate noteheads for white mensural notation.

  • Added inverted signum congruentiae.

  • Added combined tenuto-accent articulation.

  • Added quasi-random wiggly lines (wiggleRandom1, wiggleRandom2, wiggleRandom3, wiggleRandom4) to multi-segment lines range.

  • Added flipped and large versions of constant circular motion (wiggleCircularConstantFlipped, wiggleCircularConstantLarge, wiggleCircularConstantFlippedLarge) to multi-segment lines range.

  • Added combining top/middle/bottom segments for black and white rectangular note clusters.

  • Added 2, 3, 4 and 6-dot divisi indicators for measured tremolos (tremoloDivisiDots2, tremoloDivisiDots3, etc.) to tremolos range.

  • Added clavichord bebung glyphs for 2, 3, and 4 finger movements (keyboardBebung2DotsAbove, keyboardBebung3DotsBelow, etc.) to the keyboard techniques range.

  • Added double-height parentheses and brackets (csymParensLeftTall, csymParensRightTall, csymBracketLeftTall, csymBracketRightTall) to the chord symbols range.

  • Added recommendation for stylistic alternates for time signature digits 0–9 suitable for use as large time signatures shown above/between staves (timeSig0Large through timeSig9Large).

  • Added sfzp (sforzato-piano) dynamic and ligature.

  • Added Penderecki’s quarter-flat and Busotti’s three-quarter sharp accidentals.

  • Added six further accordion coupler diagrams for right-hand three-rank accordions, and accordion ricochet glyphs.

Version 0.7 (2013-11-27):

  • Introduced canonical names for every recommended glyph, which are intended to be immutable. Code points, on the other hand, may change as required to accommodate insertions or deletions of glyphs.

  • New Notes for implementers section with expanded guidelines for glyph registration, with changes for precomposed stems and stem decorations (which should now be centered around x=0) and flags (which should be positioned vertically relative to the end of a stem of normal length at y=0).

  • Added specification for JSON metadata files for SMuFL and for SMuFL-compliant fonts, developed in conjunction with Joe Berkovitz.

  • Significantly expanded the repertoire of glyphs for Medieval and Renaissance notation, with new ranges for clefs, accidentals and ligatures, plus considerable reworking of the notes and prolations ranges, expansion of the repertoire of glyphs for plainchant notation (with new ranges for staves, divisions, clefs and articulations, and a wider range of neumes).

  • Added range for Daseian notation, as found in the ninth century treatises Musica enchiriadis and Scolica enchiriadis.

  • Added new range of control characters for adjusting the staff position of staff-relative glyphs, intended for fonts designed for text-based applications.

  • Added narrow and wide staff line glyphs, intended for fonts designed for text-based applications.

  • Added C clef ottava bassa, and recommended stylistic alternate for G clef ottava bassa with parentheses around the 8.

  • Added control characters for time signature digits to allow digits to be stacked vertically, intended for fonts designed for text-based applications.

  • Added square double whole note (breve) notehead.

  • Added new combining harp string noise for stem glyph, and corresponding precomposed stem glyph.

  • Added four further quarter-tone accidental symbols to “other microtonal accidentals” group.

  • Added some percussion playing technique symbols from Dante Agostini’s method books.

  • Added a golpe (tap the pick guard) glyph from Claude Worm’s flamenco guitar method book.

  • Added short and long fermata glyphs as used by Henze.

  • Added combining glyphs for accordion couplers, allowing the creation of any coupler diagram not explicitly encoded.

  • Added “pf” dynamic.

Version 0.6 (2013-07-29):

  • Added opening parenthesis and closing parenthesis for noteheads, circled slash notehead, heavy X and heavy X with hat noteheads, as used in Dante Agostini’s drum method.

  • Added muted slash noteheads.

  • Added “si” note name noteheads for French solfège, and H sharp note name noteheads for German.

  • Added combining rim shot stem.

  • Added “sharp sharp” accidental for compatibility with MusicXML.

  • Added extended Stein-Zimmermann accidentals with arrows.

  • Added one-third-tone sharp and two-third-tones sharp accidentals as used by Xenakis.

  • Significant revision to the ornaments range, including splitting into separate ranges (common ornaments, other baroque ornaments, combining strokes for trills/mordents, precomposed trills/mordents). A small number of glyphs from previous versions of SMuFL have been removed to make way for symbols drawn from Frederick Neumann’s authoritative book on baroque ornamentation.

  • Added left hand pizzicato.

  • Added recommended stylistic alternates for Bartok pizzicato above/below.

  • Added recommended stylistic alternates for ‘Ped.’ and ‘Sost.’ that do not include terminal dots.

  • Added choke cymbal glyph from Weinberg.

  • Added open, half-open and closed wah/volume pedals, left- and right-hand tapping glyphs for guitar.

  • Added new range for arrows and arrowheads, including moving the up/down/right/left arrows from the vocal techniques into this new range.

Version 0.5 (2013-07-08):

  • Many existing code points have been changed, as a result of hundreds of new glyphs being added, plus a number of new ranges.

  • Added long and very long system dividers for very large scores.

  • Added heavy, double heavy and dotted barlines.

  • Added square coda and small repeat signs for repeats within bars.

  • Added recommended stylistic alternates for segno and coda for the appearance preferred by Japanese publishers.

  • Added quindicesima bassa G clef and F clef, G clef combined with C clef, G clefs designed to be ligated with numbers below and above to show the transposition of an instrument, plus recommended ligatures for G and F clefs with numbers above and below; also added G, C and F clefs with arrows up and down, which may be used either as alternatives for octave clefs or to represent the extremes of register on an instrument, and semi-pitched percussion clefs, plus a bridge clef.

  • Removed “tall” versions of 6- and 4-string tab clefs, and instead made them recommended stylistic alternates, together with versions that use letterforms with serifs.

  • Added +, -, X (multiply), comma, parentheses glyphs for time signatures, plus basic fractions, and Penderecki-style open time signature.

  • Added specific noteheads for double whole note and whole note to the noteheads range rather than relying on the glyphs in the pre-composed notes range.

  • Added shaped noteheads for specific note values (double whole note, whole note, half note, and quarter note and shorter); also added large up- and down-pointing triangles for highest/lowest notes played by an instrument.

  • Added large slashed circular noteheads as used by Stockhausen for notating gong/tam-tam hits.

  • Added combining glyphs for note clusters of specific note values.

  • Added noteheads with solfège and chromatic note names embedded within them, as seen in “EZ-Play” educational scores.

  • Added specific range of noteheads for sacred harp shape note singing.

  • Added pre-composed 1024th notes, tails and rest.

  • Added range for typing simple beamed groups of notes in text-based applications, designed to be used in conjunction with pre-composed notes, and allowing beamed groups with rhythmic values between 8th notes and 64th notes, plus ties and triplets.

  • Added combining stems for multiphonics, damp, sussurando, Saunders vibrato pulse accent.

  • Added four- and five-stroke tremolos plus Wieniawski-style unmeasured tremolo glyphs.

  • Added stylistic alternates for flags: straight flags; and shorter stem-up flags to avoid collisions with augmentation dots.

  • Separated accidentals into several discrete ranges based around the various accidental systems, including 12-EDO, 24-EDO, the system of up- and down-pointing arrows favoured by Gould, Stein-Zimmermann (also known as Tartini-Couper), Sims (also known as Maneri-Sims, due to the adoption of Ezra Sims’ accidentals by Joe Maneri of the Boston Microtonal Society), Ben Johnston, Marc Sabat and Wolfgang von Schweinitz’s Extended Helmholtz-Ellis Just Intonation Pitch Notation.

  • Added George Secor and Dave Keenan’s Sagittal system of accidentals.

  • Added accidentals used in Turkish folk music.

  • Added Persian accidentals.

  • Added staccatissimo wedge and stroke glyphs.

  • Added very short and very long fermatas, plus short caesura.

  • Added left and right halves of multirest H-bars and old-style quarter rest as seen in e.g. Novello editions.

  • Added ventiduesima (three octaves, “22”) glyphs to octaves range.

  • Added precomposed glyphs for common dynamics and niente circle for hairpins.

  • Added schleifer (long mordent) and Haydn ornament.

  • Added additional brass techniques, including short, medium and long versions of lift, doit, lip fall, smooth fall, rough fall, plus jazz turn.

  • Added range of glyphs for embouchure tightness, reed position, multiphonics, and stylistic alternates for double- and triple-tonguing with no slurs.

  • Added further overpressure glyphs, plus jété, fouetté, Rebecca Saunders’s “vibrato pulse” accent, thumb position and indeterminate bow direction to string techniques range.

  • Added plectrum pictogram and combining damp glyph for note stems to plucked techniques range.

  • Added arrows for breathing and intonation, plus combining sussurando glyph for note stems, to vocal techniques range.

  • Added pedal pictograms, sostenuto pedal symbols, and half-pedal marks to keyboard techniques range.

  • Added pictograms for metal rod and tuning key to harp techniques range.

  • Added Smith Brindle’s pictograms for tuned percussion instruments.

  • Added pictogram for Indian table, plus stylistic alternate for tambourine as used by Stockhausen.

  • Added pictogram for football rattle, plus Smith Brindle’s pictogram for castanets as a stylistic alternate.

  • Added pictogram for handbell, plus stylistic alternates for cow bell (from Berio) and sleigh bell (from Smith Brindle).

  • Added pictogram for Chinese cymbal.

  • Added pictogram for tam-tam with beater from Smith Brindle.

  • Added pictogram for maracas, rainstick, plus stylistic alternate for maraca from Smith Brindle.

  • Added pictogram for megaphone.

  • Added soft and hard glockenspiel beaters, superball beaters, wound beaters with hard and soft cores, plus soft, medium and hard gum beaters.

  • Added pluck lift to handbells range.

  • Added “Theme” indicators to analytics range.

  • Added minor (minus sign) glyph to chord symbols range.

  • Added mensural proportion glyphs.

  • Added combining raise and lower glyphs to figured bass range.

  • Added repetition, angle brackets, and prefix + and ring glyphs to Function theorys range.

  • Added new range for multi-segment lines, including moving all of the various “wiggle” glyphs (for trill, glissando, arpeggiando, vibrato, etc.) plus the 11 ornament strokes from the Unicode Musical Symbols range into this range, and adding further glyphs for variable speed trills, alternate arpeggiato ending glyphs, wavy lines, squaretooth and sawtooth lines, group glissando, circular motion, and variable speed and intensity of vibrato.

  • Added new range of pictograms for electronic music, including microphone, loudspeaker, transport controls, volume level and MIDI controller level.

  • Added new “do not copy” glyphs, eyeglasses and choral divide arrows glyphs to the miscellaneous symbols range.

  • Adjusted the registration of many glyphs (e.g. noteheads, accidentals, time signatures, flags, rests) in Bravura in line with the interim guidelines for metrics and registration for SMuFL-compliant fonts intended for use with scoring applications.

Version 0.4 (2013-05-16):

  • Added range for Arel-Ezgi-Uzdilek (AEU) accidentals for Turkish maqam music.

  • Added equals sign and open time signature glyphs.

Version 0.3 (2013-03-11):

  • Moved combining flags glyphs to accommodate glyphs for 256th note stem up, 256th note stem down, 512th note stem up and 512th note stem down.

Version 0.2 (2013-02-08)

  • Added tick barline.

  • Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique.

  • Add upside-down and reversed G, F and C clefs for cancrizans and inverted canons.

  • Added Time signature + and Time signature fraction slash glyphs.

  • Added Black diamond notehead, White diamond notehead, Half-filled diamond notehead, Black circled notehead, White circled notehead glyphs.

  • Added 256th and 512th note glyphs.

  • All symbols shown on combining stems now also exist as separate symbols.

  • Added reversed sharp, natural, double flat and inverted flat and double flat glyphs for cancrizans and inverted canons.

  • Added trill wiggle segment, glissando wiggle segment and arpeggiato wiggle segment glyphs.

  • Added string Half-harmonic, Overpressure down bow and Overpressure up bow glyphs.

  • Added Breath mark glyph.

  • Added angled beater pictograms for xylophone, timpani and yarn beaters.

  • Added alternative glyph for Half-open, per Weinberg.

  • Added Scrape from rim to center and Scrape around rim glyphs.

  • Added Start of stimme glyph.

  • Added colon for tuplet ratios.

  • Added stem down versions of mensural notes, and signum congruentia and custos glyphs.

  • Added three additional mensuration signs.

  • Added Riemann Function theorys glyphs.

Version 0.1 (2013-01-31)

  • Initial version.

results matching ""

    No results matching ""