Introducing Kh typefaces for contemporary and classical music notation

Microtonal Accidentals, Woodwind Fingerings, Reed Signs, Noteheads and More!





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Excerpts from the Overview:



Aesthetics & Legibility

Kh typefaces follow classicistic (neoclassical) aesthetics and are fine in combination with such modern serif types like Bodoni (used in our illustrations).

Kh glyphs could be characterized not as bold as contrast ones: for making large not only the shape but white space inside the shape.
All strokes which could be horizontal are bold and slanted much for making them good perceptible on staff lines. So, for ex., square notehead became a parallelogram. And its angles are extended for making it more distinct from usual notehead (so it’s not exact parallelogram). Oval, parallelogram triangle and other noteheads made with optical size compensation.
Compare:





Arrows and other additional elements made so enlarged to be legible with different staff lines thickness:











Our flat is more paunchy than in Sibelius Opus and more bold than in Finale Maestro font.
Half-flat is more narrow, so it’s really ‘half’ (and also this more tight shape of reversed flat less brakes overall glyphs’ trend from bottom-left to top-right):




Using Italic & Bold Switches


When you switch to italic or/and to bold ‘style’, you actually not to make it really italic or bold, but switch between various subsets of symbols. In Kh Woodwind Fingering Chart fonts you change (correct) symbol height:


In Kh Reed. Position you switch between symbols with two kind of height:




Switch Kh Accidentals to bold to add parentheses to any accidentals:





So we call them not ‘styles’ but ‘switches’.




Examples of Char Tables

The examples below are only part of the story ; )


Kh Reed. Position:




Kh Reed. Pressure. Lips and Air:










Kh Woodwind Fingering Chart: