Re: Proposal for the inclusion of Sorabji-Finnissy transpositions in the Octaves supplement

Thanks for your proposal, Alex.

Would you please be so kind as to add this proposal to the GitHub issues database for SMuFL:

https://github.com/w3c/smufl/issues/


and include an example of how each of the proposed glyphs might look?

All the best,

Daniel

From: "Emery, Alex" <aemery@blc.edu>
Date: Monday, 24 August 2020 at 09:09
To: "public-music-notation@w3.org" <public-music-notation@w3.org>
Subject: Proposal for the inclusion of Sorabji-Finnissy transpositions in the Octaves supplement
Resent from: <public-music-notation@w3.org>
Resent date: Monday, 24 August 2020 at 09:08

Kaikhosru Shapurji Sorabji was an English composer who used a famously idiosyncratic method of notating octave transpositions. Specifically, he was known to use a capital I with a caret above to indicate a section to be played an octave higher than written, and a capital I with an inverted caret below if it were to be an octave lower. Playing two octaves higher was represented by a double capital I with a caret spanning both. These symbols have also seen use in the modern era by Michael Finnissy.

Prior to this, he utilized a symbol consisting of a capital I written directly above a capital VIII, which can be seen in his Piano Sonata No. 1, for instance. Occasionally, the two methods were combined and a caret was written above this fraction-like symbol. I would like to propose these various transposition markers be added to the Octaves supplement in the following order:

U+EC99 - I with caret above
U+EC9A - Double I with caret above
U+EC9B - Triple I with caret above (theoretical)
U+EC9C - I with caret below
U+EC9D - Double I with caret below (theoretical)
U+EC9E - Triple I with caret below (theoretical)
U+EC9F - I above VIII

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