![]() ![]() ![]() It appears as the middle font above, and you can see how its noteheads were much more robust than those in Petrucci. The resulting font was named “Engraver,” which replaced Petrucci as Finale’s default music font. I fondly remember many lunches with Bruce Nelson, the Los Angeles font developer we employed to actually make the MPA’s vision a reality within Finale. In fact everything, from eighth-note flags to bass clef thicknesses, was laid out in precise detail. Notehead sizes were also painstakingly specified. I remember seeing drawings of the collaborative music font in progress (blueprints really) with degree angles indicating intricate specifications. Thanks to NAMM’s Oral History project, you can see and hear Arnold speak here. During his career he had served as the president of the MPA, ASCAP, and (music publishing company) Theodore Presser. Thus began a wonderful partnership in which none other than Arnold Broido helped us to develop “the ultimate music notation font.” Mr. Because Finale had become, in their opinion, the standard in music notation software, they wanted to express their concern about Petrucci’s appearance, which they regarded as “anemic.” To some these small variations are very important.īack in the 1990s, the Music Publishers Association (MPA) contacted MakeMusic (then Coda Music Technology) about Petrucci (show at left above), which was then the default music font in Finale. ![]() In each the notehead, rests, clef, and time signature are slightly different. Take for instance the three examples above. Have you similarly tried switching music fonts in Finale? While it can be dramatic to switch from a font with a handwritten appearance, like Broadway Copyist, to a font with an engraved look, like Maestro, there are many more subtle options available as well. Most of us have changed the look of a word processing document by switching text fonts, say from Times to Arial. Petrucci, Engraver, and Maestro, three of the many music fonts included with Finale. ![]()
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March 2023
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