Smufl

SMuFL
Standard Music Font Layout

Version 1.18 (2015-05-18)
Copyright 20132015 Steinberg Media Technologies GmbH
Acknowledgements
This document reproduces glyphs from the Bravura font, copyright Steinberg Media
Technologies GmbH. Bravura is released under the SIL Open Font License and can be
downloaded from http://www.smufl.org/fonts
This document also reproduces some glyphs from the Unicode 7.0 code chart for the
Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs
are the copyright of their respective copyright holders, listed on the Unicode Consortium
web site here:
http://www.unicode.org/charts/fonts.html
Version history
Version 0.1 (2013-01-31)
Initial version.
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 0.3 (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 0.4 (2013-05-16):
Added range for Arel-Ezgi-Uzdilek (AEU) accidentals for Turkish maqam music.
Added equals sign and open time signature glyphs.
Version 0.5 (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 downpointing 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 solfge 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 downpointing arrows favoured by Gould, Stein-Zimmermann (also known as TartiniCouper), 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 Schweinitzs Extended Helmholtz-Ellis Just Intonation
Pitch Notation.
Added George Secor and Dave Keenans 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 jt, fouett, Rebecca Saunderss 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 Brindles 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 Brindles 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 0.6 (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 Agostinis
drum method.
Added muted slash noteheads.
Added si note name noteheads for French solfge, 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 Neumanns 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 0.7 (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 staffrelative glyphs, intended for fonts designed for text-based applications.
Added narrow and wide staff line glyphs, intended for fonts designed for textbased 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 Agostinis
method books.
Added a golpe (tap the pick guard) glyph from Claude Worms 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 0.8 (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+E000U+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 Wyschnegradskys system of 72-EDO accidentals.
Added Bosanquets 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 Byzantineinspired 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 Brittens 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 09
suitable for use as large time signatures shown above/between staves
(timeSig0Large through timeSig9Large).
Added sfzp (sforzato-piano) dynamic and ligature.
Added Pendereckis quarter-flat and Busottis three-quarter sharp accidentals.
Added six further accordion coupler diagrams for right-hand three-rank
accordions, and accordion ricochet 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.
10
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 glyphs 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 Kodly solfge hand signs.
Added new range for Peter Hayes Georges 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 singlenote 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.
11
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 Apels book.
Added 12 new pre-composed trills and mordents, based on Bachs 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.
12
Version 0.99 (2014-06-02):
Modified the specification of the glyphsWithBBoxes structure in the font-specific

JSON metadata such that the glyphs 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 Couperins pinc and tremblement appuy 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.
13
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 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 Salzedos 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 1.17 (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.
14
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 1.18 (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 Schffer in Karkoschkas 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.
15
Contents
About SMuFL............................................................................................................................................................ 19
Notes for implementers .......................................................................................................................................... 25
Staff brackets and dividers (U+E000U+E00F) ..................................................................................................... 51
Staves (U+E010U+E02F) ....................................................................................................................................... 53
Barlines (U+E030U+E03F)..................................................................................................................................... 55
Repeats (U+E040U+E04F) .................................................................................................................................... 56
Clefs (U+E050U+E07F) .......................................................................................................................................... 58
Time signatures (U+E080U+E09F) ....................................................................................................................... 66
Noteheads (U+E0A0U+E0FF) ............................................................................................................................... 72
Slash noteheads (U+E100U+E10F) ...................................................................................................................... 79
Round and square noteheads (U+E110U+E11F) ............................................................................................... 80
Note clusters (U+E120U+E14F) ............................................................................................................................ 81
Note name noteheads (U+E150U+E1AF) ........................................................................................................... 84
Shape note noteheads (U+E1B0U+E1CF) .......................................................................................................... 90
Individual notes (U+E1D0U+E1EF) ...................................................................................................................... 94
Beamed groups of notes (U+E1F0U+E20F) ........................................................................................................ 96
Stems (U+E210U+E21F) ........................................................................................................................................ 98
Tremolos (U+E220U+E23F) ................................................................................................................................ 100
Flags (U+E240U+E25F) ....................................................................................................................................... 102
Standard accidentals (12-EDO) (U+E260U+E26F) ........................................................................................... 106
Gould arrow quartertone accidentals (24-EDO) (U+E270U+E27F)................................................................ 108
Stein-Zimmermann accidentals (24-EDO) (U+E280U+E28F) .......................................................................... 109
Extended Stein-Zimmermann accidentals (U+E290U+E29F) ......................................................................... 110
Sims accidentals (72-EDO) (U+E2A0U+E2AF) .................................................................................................. 112
Johnston accidentals (just intonation) (U+E2B0U+E2BF) ................................................................................ 113
Extended Helmholtz-Ellis accidentals (just intonation) (U+E2C0U+E2FF) ..................................................... 115
Spartan Sagittal single-shaft accidentals (U+E300U+E30F) ............................................................................ 119
Spartan Sagittal multi-shaft accidentals (U+E310U+E33F) .............................................................................. 121
Athenian Sagittal extension (medium precision) accidentals (U+E340U+E36F) .......................................... 124
Trojan Sagittal extension (12-EDO relative) accidentals (U+E370U+E38F) ................................................... 127
Promethean Sagittal extension (high precision) single-shaft accidentals (U+E390U+E3AF) ...................... 129
Promethean Sagittal extension (high precision) multi-shaft accidentals (U+E3B0U+E3EF) ........................ 131
Herculean Sagittal extension (very high precision) accidental diacritics (U+E3F0U+E3FF) ........................ 135
Olympian Sagittal extension (extreme precision) accidental diacritics (U+E400U+E40F) ........................... 136
Magrathean Sagittal extension (insane precision) accidental diacritics (U+E410U+E41F) .......................... 137
Wyschnegradsky accidentals (72-EDO) (U+E420U+E43F) ............................................................................. 138
Arel-Ezgi-Uzdilek (AEU) accidentals (U+E440U+E44F).................................................................................... 140
Turkish folk music accidentals (U+E450U+E45F) ............................................................................................. 141
16
Persian accidentals (U+E460U+E46F) ............................................................................................................... 142

Other accidentals (U+E470U+E49F) .................................................................................................................. 143
Articulation (U+E4A0U+E4BF) ............................................................................................................................ 145
Holds and pauses (U+E4C0U+E4DF) ................................................................................................................ 148
Rests (U+E4E0U+E4FF) ....................................................................................................................................... 150
Bar repeats (U+E500U+E50F)............................................................................................................................. 152
Octaves (U+E510U+E51F) .................................................................................................................................. 153
Dynamics (U+E520U+E54F) ............................................................................................................................... 155
Lyrics (U+E550U+E55F) ....................................................................................................................................... 158
Common ornaments (U+E560U+E56F) ............................................................................................................. 159
Other baroque ornaments (U+E570U+E58F) ................................................................................................... 161
Combining strokes for trills and mordents (U+E590U+E5AF) ........................................................................ 163
Precomposed trills and mordents (U+E5B0U+E5CF) ...................................................................................... 166
Brass techniques (U+E5D0U+E5EF) .................................................................................................................. 170
Wind techniques (U+E5F0U+E60F) ................................................................................................................... 172
String techniques (U+E610U+E62F) .................................................................................................................. 174
Plucked techniques (U+E630U+E63F)............................................................................................................... 176
Vocal techniques (U+E640U+E64F) ................................................................................................................... 177
Keyboard techniques (U+E650U+E67F) ........................................................................................................... 178
Harp techniques (U+E680U+E69F) .................................................................................................................... 180
Tuned mallet percussion pictograms (U+E6A0U+E6BF)................................................................................. 182
Chimes pictograms (U+E6C0U+E6CF) .............................................................................................................. 184
Drums pictograms (U+E6D0U+E6EF) ................................................................................................................ 185
Wooden struck or scraped percussion pictograms (U+E6F0U+E6FF) .......................................................... 187
Metallic struck percussion pictograms (U+E700U+E70F) ............................................................................... 189
Bells pictograms (U+E710U+E71F) .................................................................................................................... 190
Cymbals pictograms (U+E720U+E72F) ............................................................................................................. 191
Gongs pictograms (U+E730U+E73F) ................................................................................................................ 192
Shakers or rattles pictograms (U+E740U+E74F) .............................................................................................. 193
Whistles and aerophones pictograms (U+E750U+E75F) ................................................................................ 194
Miscellaneous percussion instrument pictograms (U+E760U+E76F) ............................................................ 195
Beaters pictograms (U+E770U+E7EF) ............................................................................................................... 196
Percussion playing technique pictograms (U+E7F0U+E80F) ......................................................................... 203
Handbells (U+E810U+E82F) ............................................................................................................................... 205
Guitar (U+E830U+E84F) ...................................................................................................................................... 206
Chord diagrams (U+E850U+E85F) .................................................................................................................... 208
Analytics (U+E860U+E86F) ................................................................................................................................. 209
Chord symbols (U+E870U+E87F) ...................................................................................................................... 210
Tuplets (U+E880U+E88F).................................................................................................................................... 211
Conductor symbols (U+E890U+E89F) .............................................................................................................. 212
17
Accordion (U+E8A0U+E8DF) ............................................................................................................................. 213

Beams and slurs (U+E8E0U+E8EF) .................................................................................................................... 217
Medieval and Renaissance staves (U+E8F0U+E8FF) ....................................................................................... 218
Medieval and Renaissance clefs (U+E900U+E90F) .......................................................................................... 219
Medieval and Renaissance prolations (U+E910U+E92F) ................................................................................ 220
Medieval and Renaissance noteheads and stems (U+E930U+E94F) ............................................................. 222
Medieval and Renaissance individual notes (U+E950U+E96F) ...................................................................... 228
Medieval and Renaissance oblique forms (U+E970U+E98F).......................................................................... 230
Medieval and Renaissance plainchant single-note forms (U+E990U+E9AF) ................................................ 232
Medieval and Renaissance plainchant multiple-note forms (U+E9B0U+E9CF) ............................................ 234
Medieval and Renaissance plainchant articulations (U+E9D0U+E9DF) ........................................................ 238
Medieval and Renaissance accidentals (U+E9E0U+E9EF) .............................................................................. 239
Medieval and Renaissance rests (U+E9F0U+E9FF) .......................................................................................... 240
Medieval and Renaissance miscellany (U+EA00U+EA1F) ............................................................................... 241
Medieval and Renaissance symbols in CMN (U+EA20U+EA2F)..................................................................... 243
Daseian notation (U+EA30U+EA4F) .................................................................................................................. 244
Figured bass (U+EA50U+EA6F) ......................................................................................................................... 245
Function theory symbols (U+EA70U+EA9F) ..................................................................................................... 247
Multi-segment lines (U+EAA0U+EB0F) ............................................................................................................. 250
Electronic music pictograms (U+EB10U+EB5F) ............................................................................................... 257
Arrows and arrowheads (U+EB60U+EB8F) ....................................................................................................... 261
Combining staff positions (U+EB90U+EB9F) .................................................................................................... 264
Renaissance lute tablature (U+EBA0U+EBBF) .................................................................................................. 265
French and English Renaissance lute tablature (U+EBC0U+EBDF) ............................................................... 267
Italian and Spanish Renaissance lute tablature (U+EBE0U+EBFF) ................................................................. 270
German Renaissance lute tablature (U+EC00U+EC2F) ................................................................................... 272
Kievan square notation (U+EC30U+EC3F)........................................................................................................ 275
Kodly hand signs (U+EC40U+EC4F) ................................................................................................................ 277
Simplified Music Notation (U+EC50U+EC5F) ................................................................................................... 278
Miscellaneous symbols (U+EC60U+EC7F)........................................................................................................ 279
Time signatures supplement (U+EC80U+EC8F) .............................................................................................. 280
Octaves supplement (U+EC90U+EC9F)............................................................................................................ 281
Metronome marks (U+ECA0U+ECBF) ............................................................................................................... 282
18
About SMuFL
A brief history of music fonts
Computer software has been displaying musical symbols of various kinds since the
1960s, but the first font for musical symbols did not arrive until 1985, when Cleo
Huggins designed Sonata for Adobe. 1
Sonata mapped the musical symbols onto keys on the standard QWERTY keyboard,
using some simple mnemonics (the treble G clef, for example, was mapped onto the &
key, and the sharp sign onto #). Most music fonts developed since then, including
Steve Pehas Petrucci (the first music font for Finale, dating from 1988 2) and Jonathan
Finns Opus (the first music font for Sibelius, dating from 1993), have followed Sonatas
layout.
However, since Sonata includes fewer than 200 glyphs, and even conventional music
notation 3 requires many more symbols than that, individual vendors have devised
their own mappings for glyphs beyond Sonatas initial set.
By 2013, for example, the Opus font family that is still Sibeliuss default font set
contains no fewer than 18 fonts with more than 600 glyphs between them.
In 1998, Perry Roland of the University of Virginia drafted a proposal for a new range
of musical symbols to be incorporated into the Unicode Standard 4. This range of 220
characters was duly accepted into the Unicode Standard, and those symbols are found
at code points U+1D100U+1D1FF 5. However, its repertoire of 220 symbols does not
extend dramatically beyond the scope of the original 1985 version of Sonata, though it
does add some symbols for mensural and Gregorian notation.
To date the only commercially available music font that uses the Unicode mapping is
Adobe Sonata Std, and its repertoire is incomplete.
How SMuFL is organized

The aim of the Standard Music Font Layout (SMuFL) is to provide the basis for music
font mapping for the age of Unicode and OpenType fonts.
SMuFL uses the standard Private Use Area in the Basic Multilingual Plane (starting at
code point U+E000), and currently includes just over 2440 recommended characters,
plus several hundred further optional but recommended glyphs, primarily ligatures
(i.e. two or more symbols drawn as a single glyph) and stylistic alternates (i.e. a
1
See http://www.identifont.com/show?12A
See http://blog.finalemusic.com/post/2010/02/18/Meet-Steve-Peha-creator-of-Petrucci-Finales-first-music-font.aspx
A term coined by Donald Byrd, Senior Scientist and Adjunct Associate Professor of Informatics at Indiana University.
4
The original proposal (http://www.lib.virginia.edu/artsandmedia/dmmc/Music/UnicodeMusic/) is no longer available, but an
archived version can be found at http://archive.is/PzkaT
5
See http://www.unicode.org/charts/PDF/U1D100.pdf
2
3
19
About SMuFL
different appearance for the same character with equivalent meaning). SMuFL is a
superset of the Unicode Musical Symbols range, and it is recommended that common
characters are included both at code points in SMuFL and in the Unicode Musical
Symbols range. In the tables of glyphs in this document, where glyphs are shared
between SMuFL and the Unicode Musical Symbols range, the Unicode Musical
Symbols code point is shown following the SMuFL code point.
The groupings of characters within SMuFL are based on the groupings defined by
Perry Roland in the Unicode Musical Symbols range, but with finer granularity. There
are currently 109 groups of characters, proceeding roughly in order from least to most
idiomatic, i.e. specific to particular instruments, types of music, or historical periods.
The grouping has no significance other than acting as an attempt to provide an
overview of the included characters.
Room for future expansion has generally been left in each group, so code points are
not contiguous. The code point of each character in SMuFL 1.0 is intended to be
immutable, and likewise every character has a canonical name, also intended to be
immutable.
Recommended characters and optional glyphs

One of the aims of SMuFL is to make it as simple as possible for developers both of
fonts and of scoring software to implement support for a wide range of musical
symbols. Although modern font technologies such as OpenType enable a great deal
of sophistication in automatic substitution features 6, applications that wish to use
SMuFL-compliant fonts are not obliged to support advanced OpenType features.
The basic requirements for the use of SMuFL-compliant fonts are the ability to access
glyphs by their Unicode code point, to measure glyphs, and to scale them (e.g. by
drawing the font at different point sizes). If applications are able to access OpenType
features such as stylistic sets and ligatures, then additional functionality may be
enabled.
However, all glyphs that can be accessed via OpenType features are also accessible
via an explicit code point. For example, a stylistic alternate for the sharp accidental
designed to have a clearer appearance when reproduced at a small size can be
accessed as a stylistic alternate for accidentalSharp, but also by way of its explicit code
point, which will be in the range U+F400U+F8FF.
Because optional glyphs for ligatures, stylistic alternates, etc. are not required, and
different font developers may choose to provide different sets (e.g. several different
appearances of tab clefs, or different sets of glyphs whose designs are optimized for
drawing at different optical sizes), SMuFL does not make any specific
recommendations for how these glyphs should be assigned explicit code points,
6
See http://www.adobe.com/devnet/opentype/afdko/topic_feature_file_syntax.html
20
About SMuFL
except that they must be within the range U+F400U+F8FF, which is reserved for this
purpose and for any other private use required by font or application developers.
In summary, recommended characters are encoded from U+E000, with a nominal
upper limit of U+F3FF (a total of 5120 possible characters), while optional glyphs
(ligatures, stylistic alternates, etc.) are encoded from U+F400, with a nominal upper
limit of U+F8FF (a total of 1280 possible glyphs).
In order for a font to be considered SMuFL-compliant, it should implement as many of
the recommended characters as are appropriate for the intended use of the font, at
the specified code points. Fonts need not implement every recommended character,
and need not implement any optional glyphs, in order to be considered SMuFLcompliant.
Implementations
The reference font for SMuFL is Bravura, an OpenType font released under the SIL
Open Font License that can be downloaded from the SMuFL web site at
http://www.smufl.org/fonts. The example glyphs in this document are all taken from
Bravura.
Other SMuFL-compliant fonts are available under a variety of licenses. A list of such
fonts can be found at http://www.smufl.org/fonts.
Support for SMuFL-compliant fonts has been implemented by a variety of
applications. A list of applications that support SMuFL can be found at
http://www.smufl.org/software.
Sources for symbols

In addition to surveying the music fonts supplied with existing major scoring
applications, the following texts were consulted as sources for musical symbols:
Agostini, Dante. Methode de Batterie. France: Carisch Musicom, 2009.
Apel, Willi. The Notation of Polyphonic Music 9001600, Fourth Edition.

Cambridge, MA, USA: The Medieval Academy of America, 1953.
Bach, J.S. (ed. Palmer, Willard). J.S. Bach: Inventions and Sinfonias, 2nd Edition.
Van Nuys, CA, USA: Alfred Publishing Co., 1991.
Balestrieri, Donald. Registers of the Standard Stradella Keyboard Accordion. USA:

Accord Magazine, 1979. 7
Davis, Roger E. The Organists Manual. New York: W. W. Norton, 1985.
Doty, David B. The Just Intonation Primer. San Francisco, USA: The Just Intonation
Network, 1993.
See http://www.accordions.com/articles/stradella.aspx
21
About SMuFL
Draugsvoll, Geir & Hjsgaard, Erik (translated Borregaard, Andreas). Handbook on

Accordion Notation. Copenhagen: The Royal Danish Academy of Music in
Copenhagen, 2001. 8
Drobner, Mieczysaw. Instrumentoznawstwo i akustyka (Musical Instruments and

Acoustics). Cracow: PWM Edition, 1960 (7th Edition, 2008).
Gould, Elaine. Behind Bars. London: Faber Music, 2011.
Inglefield, Ruth & Neill, Lou Anne. Writing for the Pedal Harp: Standardized Manual
for Composers and Harpists. University of California Press, 1985.
Karkoschka, Erhard (tr. Koenig, Ruth). Notation in New Music. Universal Edition,
1972.
McCarty, Frank. Notational Standards for Percussion: A Report on the Ghent

Conference (from The Instrumentalist, xxix). Northfield, IL: The Instrumentalist
Publishing Co., 1975.
Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music.

Princeton, NJ: Princeton University Press, 1978.
Peinkofer, Karl & Tannigel, Fritz: Handbuch des Schlagzeugs. Praxis und Technik.
Mainz: Schott, 1981.
Poulton, Diana. A Tutor for the Renaissance Lute. London, UK: Schott, 1991.
Read, Gardner. Twentieth-Century Microtonal Notation. USA: Praeger, 1990.
Roland, Perry. Proposal for Encoding Western Music Symbols in ISO/IEC 10646.
Virginia: University of Virginia, 1998.
Sabat, Marc. The Extended Helmholtz-Ellis JI Pitch Notation. Plainsound Music

Edition, 2005.
Salzedo, Carlos. Modern Study of the Harp. London: G. Schirmer, 1921.
Secor, George & Keenan, David. Sagittal A Microtonal Notation System.

Xenharmonikn, An Informal Journal of Experimental Music, Volume 18, 2006.
www.sagittal.org, 2004.
Sevsay, Ertugrul: Handbuch der Instrumentationspraxis. Kassel: Brenreiter, 2005
Simmons, Nikita. A Primer of Kievian Square-Note (Quadratic or Synodal) Notation.

www.synaxis.info, 2004.
Smith Brindle, Reginald. Contemporary Percussion. New York: Oxford University

Press, 1991.
See http://www.rednoteensemble.com/Calls_for_Scores_files/Handbook%20on%20Accordion%20Notation.pdf
22
About SMuFL
Stiller, Andrew. Handbook of Instrumentation. Philadelphia: Kallisti Music Press,

1994.
Stone, Kurt. Music Notation in the Twentieth Century: A Practical Guidebook. New
York: W.W. Norton, 1980.
Vounelakos, Antonis. Die Konzepte der Flamenco-Gitarrentranskription. Vienna:

Universitt Wien, 2009.
Weinberg, Norman. Guide to Standardized Drumset Notation. Lawton: Percussive

Arts Society, Inc., 1998.
Ornaments, Grove Music Online, ed. L. Macy (accessed January 24 2013)
AGEHR Handbell and Handchime Notation Booklet, 8th ed. Dayton: Lorenz, 2010. 9
Other contributors
Grateful thanks are also extended to the following, all of whom have contributed their
time and expertise to identifying further sources of glyphs for inclusion in SMuFL: Mark
Adler, Stephen Begley, Michael Scott Cuthbert, Ben Finn, Maurizio Gavioli, Michael
Good, Mark Johnson, Dave Keenan, Phil Knights, Matthew Maslanka, Jean-Christoph
Michel, Alexander Pltz, Grzegorz Rolek, Ahmed Tahar, Emil Wojtacki, Notengrafik
Berlin.
Thanks also to Joe Berkovitz for his contribution towards the guidelines for font
metrics and glyph registration for fonts intended for use with scoring applications, and
the initial design of the font metadata JSON files.
Missing symbols?
If you know of any commonly used symbols that are not included in SMuFL, please
post your suggestions to the smufl-discuss mailing list (see www.smufl.org/discuss).
License
SMuFL is free to use, and is licensed under the terms of the MIT License, as follows:
Copyright 20132015 Steinberg Media Technologies GmbH
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and
associated documentation files (the Software), to deal in the Software without restriction, including
without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the
following conditions:
The above copyright notice and this permission notice shall be included in all copies or substantial
portions of the Software.
THE SOFTWARE IS PROVIDED AS IS, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A
9
A summary of the main notations prescribed in this book can be found at

http://www.handbellworld.com/music/HandbellNotation.cfm
23
About SMuFL
PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR

COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN
ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH
THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.
24
Notes for implementers

This section provides guidelines and recommendations for metrics, glyph registration
and font metadata, and is intended for font designers who want to design SMuFLcompliant fonts, and for software developers who want to build applications that can
consume SMuFL-compliant fonts.
Metadata for SMuFL glyphs and ranges

To aid software developers in implementing SMuFL-compliant fonts, three support
files in JSON format are available. For more information about the JSON format, see
www.json.org.
glyphnames.json maps code points to canonical glyph names, which by convention
use lower camel case, a convenient format for most programming languages. Here is
an excerpt of this file:
{
...
"barlineDashed": {
"alternateCodepoint": "U+1D104",
"codepoint": "U+E036",
"description": "Dashed barline"
},
"barlineDotted": {
"codepoint": "U+E037"
"description": "Dotted barline"
},
"barlineDouble": {
"description": "Double barline"
},
"barlineFinal": {
"description": "Final barline"
},
"barlineHeavy": {
"description": "Heavy barline"
},
...
}
The file is keyed using the glyph names, with the SMuFL code point provided as the
value for the "codepoint" key, and the Unicode Musical Symbols range code point (if
25
applicable) provided as the value for the "alternateCodepoint" key. The "description"
key contains the glyphs description, as it appears in this specification.
classes.json groups glyphs together into classes, so that software developers can
handle similar glyphs (e.g. noteheads, clefs, flags, etc.) in a similar fashion. Here is an
excerpt of this file:
{
"clefs": [
"gClef",
"gClef15mb",
"gClef8vb",
"gClef8va",
"gClef15ma",
"gClef8vbOld",
"gClef8vbCclef",
...
],
"noteheads": [
"noteheadDoubleWhole",
"noteheadWhole",
"noteheadHalf",
"noteheadBlack",
"noteheadNull",
...
],
"flags": [
"flag8thUp",
"flag8thDown",
"flag16thUp",
"flag16thDown",
"flag32ndUp",
"flag32ndDown",
...
],
...
}
Glyphs are listed within their classes using the names specified in glyphnames.json.
Not all glyphs are contained within classes, and the same glyph can appear in multiple
classes.
The classes defined at present are as follows:
26
Class name
Description
accidentals
Contains all glyphs in all accidentals ranges.
accidentals24EDOArrows
accidentals53EDOTurkish
accidentals72EDOWyschnegradsky
accidentalsAEU
accidentalsHelmholtzEllis
accidentalsJohnston
accidentalsPersian
accidentalsSagittalAthenian
accidentalsSagittalDiacritics
accidentalsSagittalMixed
accidentalsSagittalPromethean
accidentalsSagittalPure
accidentalsSagittalTrojan
accidentalsSims
accidentalsStandard
accidentalsSteinZimmermann
These classes contain useful subsets of accidentals, each class

essentially providing all of the accidentals glyphs required for a
given convention or system.
articulations
Contains all articulations, regardless of whether they are intended to

be positioned above or below the note/staff.
articulationsAbove
articulationsBelow
Contains only those articulations that are positioned either above or

below the note/staff, as appropriate.
combiningStaffPositions
Contains glyphs that are available in ligatures with the Combining

staff position glyphs, in fonts intended for use in text-based
applications. (N.B. not implemented in the current Bravura font,
which is intended for scoring applications.)
clefs
Contains all clefs, regardless of the position on the staff at which

they are typically positioned.
clefsC
Contains all C clefs.
clefsF
Contains all F clefs.
clefsG
Contains all G clefs.
dynamics
Contains the glyphs in the Dynamics range, which should be scaled

differently to other glyphs in fonts designed for use in text-based
applications.
forTextBasedApplications
Contains glyphs that scoring applications can generally ignore, i.e.

these are useful for text-based applications (or for runs of normal
text in scoring applications). This contains glyphs like the Beamed
groups of notes range, pre-composed stems, pre-composed staff
lines, etc.
multiGlyphForms
Contains all glyphs that are designed to be used in combination to

produce larger forms, e.g. ornaments, wiggly lines, etc.
noteheads
Contains all glyphs in all noteheads ranges.
27
Class name
Description
noteheadSetCircled
noteheadSetCircleX
noteheadSetDefault
noteheadSetDiamond
noteheadSetDiamondOld
noteheadSetHeavyX
noteheadSetLargeArrowDown
noteheadSetLargeArrowUp
noteheadSetNamesPitch
noteheadSetNamesSolfege
noteheadSetPlus
noteheadSetRoundLarge
noteheadSetRoundSmall
noteheadSetSacredHarp
noteheadSetSlashed1
noteheadSetSlashed2
noteheadSetSlashHorizontalEnds
noteheadSetSlashVerticalEnds
noteheadSetSquare
noteheadSetTriangleDown
noteheadSetTriangleLeft
noteheadSetTriangleRight
noteheadSetTriangleUp
noteheadSetWithX
noteheadSetX
parenthesesNotehead
These classes contain useful subsets of noteheads, each class

providing a set of noteheads, e.g. the notehead to be used for
quarter notes and shorter, for half notes, for whole notes, etc., for
different conventions.
octaves
Contains all glyphs relating to octave lines.
ornaments
Contains all pre-composed ornament glyphs, excluding the

component parts in the Combining strokes for trills and mordents
range.
pauses
Contains all fermatas/caesuras, regardless of whether they are

intended to be positioned above or below the note/staff.
pausesAbove
pausesBelow
Contains only those fermatas that are positioned either above or

below the note/staff, as appropriate.
rests
Contains all rests glyphs.
stemDecorations
Contains glyphs that are designed to be positioned on stems. This is

a useful class, because the individual glyphs that are intended to be
drawn on stems are dotted around various ranges.
wigglesArpeggiato
wigglesArpeggiatoDown
wigglesArpeggiatoUp
wigglesCircularMotion
wigglesQuasiRandom
wigglesTrill
wigglesVibrato
wigglesVibratoVariable
These classes contain useful subsets of the Multi-segment lines

range.
ranges.json provides information about the way glyphs are presented in discrete
ranges in this specification. Here is an excerpt of this file:
28
{
...
"analytics": {
"description": "Analytics",
"glyphs": [
"analyticsHauptstimme",
"analyticsNebenstimme",
"analyticsStartStimme",
"analyticsEndStimme",
"analyticsTheme",
"analyticsThemeRetrograde",
"analyticsThemeRetrogradeInversion",
"analyticsThemeInversion",
"analyticsTheme1",
"analyticsInversion1"
],
"range_end": "U+E86F",
"range_start": "U+E860"
}
...
}
This file uses a unique identifier for each range as the primary key, and within each
structure the description specifies the human-readable range name (as it appears in
this specification), glyphs is an array listing the canonical names of the glyphs
contained within the range, and the range_start and range_end key/value pairs
specify the first and last code point allocated to this range respectively.
The current versions of glyphnames.json, classes.json and ranges.json are available for
download at www.smufl.org/download.
It is further recommended that SMuFL-compliant fonts also contain font-specific
metadata JSON files, which are described below.
Designing for scoring applications and text-based applications

In addition to providing a standard approach to how musical symbols should be
assigned to Unicode code points, SMuFL also aims to provide two sets of guidelines
for the metrics and glyph registration, addressing the two most common use cases for
fonts that contain musical symbols, i.e. use within dedicated scoring applications, and
use within text-based applications (such as a word processors, desktop publishers,
web pages, etc.).
Since it is helpful for scoring applications that all symbols in a font be scaled relative to
each other as if drawn on a staff of a particular size, and conversely it is helpful for
musical symbols to be drawn in-line with text to be scaled relative to the letterforms
with which the musical symbols are paired, in general a single font cannot address
29
these two use cases: the required metrics and relative scaling of glyphs are
incompatible 10.
Therefore, it is recommended that font developers make clear whether a given font is
intended for use by scoring applications or by text-based applications by appending
Text to the name of the font intended for text-based applications; for example,
Bravura is intended for use by scoring applications, and Bravura Text is intended
for use by text-based applications (or indeed for mixing musical symbols with free text
within a scoring application).
Metrics and glyph registration for scoring applications

The following guidelines are provided for fonts intended for use in scoring
applications:
Dividing the em in four provides an analogue for a five-line staff: if a font uses
1000 upm (design units per em), as is conventional for a PostScript font, one staff
space is equal to 250 design units; if a font uses 2048 upm, as is conventional for a
TrueType font, one staff space is equal to 512 design units.
The origin (bottom left corner of the em square, i.e. x = 0 and y = 0 in font design
space) therefore represents the middle of the bottom staff line of a nominal fiveline staff, and y = 1 em represents the middle of the top staff line of that same fiveline staff.
All glyphs should be drawn at a scale consistent with the key measurement that
one staff space = 0.25 em.
Unless otherwise stated, all glyphs shall be horizontally registered so that their
leftmost point coincides with x = 0.
Unless otherwise stated, all glyphs shall have zero-width side bearings, i.e. no
blank space to the left or right of the glyph.
Glyphs that apply to a staff as a whole (e.g. barlines) shall be registered such that
the font baseline lies at the nominal vertical position of the bottom line of a fiveline staff. If the glyph is specific to a staff other than a regular five-line staff, then for
registration purposes that staffs vertical center shall be exactly aligned with the
vertical center of a five-line staff.
10
The main problem concerns line spacing: because most applications determine the line spacing required for a font based on a sum
of the ascender, descender and line gap values in the font (for which different applications on different operating systems use
different combinations of the three places this can be defined, once the hhea table and twice in the OS/2 table), it is impractical to
provide a font where all glyphs are scaled correctly relatively to one another in such a way that all musical symbols can be drawn at a
single scale factor that complements text fonts at the same point size. Many applications clip glyphs that exceed the calculated line
spacing, so in order to have a single font in which e.g. a G clef is drawn without clipping and an eighth note is drawn at a
corresponding scale factor (such that the clef is around twice as tall as the note), the line spacing would have to be so tall that it would
greatly distort the line spacing of the text. For more information about this issue, see http://typophile.com/node/13081. Bravura, for
what its worth, uses very large line spacing (1.75 times its em square), such that 99% of glyphs are drawn without clipping in textbased applications, at the expense of making it practical to use the font mixed in-line with text.
30
Glyphs for movable notations that apply to some vertical staff position (e.g.
noteheads, accidentals) shall be registered such that the font baseline lies exactly
at that position. For example, a typical notehead or accidental glyph is registered
such that it is vertically centered on the baseline.
Clefs should be positioned such that the pitch the clef refers to is on the baseline
(e.g. the F clef is placed such that the upper dot is above and the lower dot below
the baseline). If a clef does not refer specifically to a pitch, its y=0 should coincide
with the center staff line on a five-line staff, or the visual center for staves with more
or fewer than five lines (e.g. tablature staves).
Noteheads should be positioned as if on the bottom line of the staff (except for
complete clusters representing intervals of a second or third, which should be
positioned as if in the bottom space of the staff).
Pre-composed stems should be positioned as if they are pointing upwards and

attached to a notehead on the bottom line of the staff. The center of the stem
should be at x=0.
Combining glyphs that are designed to be superimposed on stems (stem

decorations) should be registered such that the point that should sit in the center
of the stem (i.e. typically the visual center of the symbol) should be at x=0 and y=0.
Accidentals should be positioned as if they apply to a notehead on the bottom

line of the staff.
Articulations to be positioned above a note or chord should be positioned such

that they sit on the baseline (y=0), while articulations to be positioned below a
note or chord should be positioned such that they hang from the baseline.
Pre-composed notes should be positioned as if on the bottom line of the staff.
Flags are positioned such that y=0 corresponds to the end of a stem of normal
length, and such that x=0 corresponds to the left-hand side of the stem.
Rests are relative to an imaginary staff position, typographically speaking (usually

the center line of a five-line staff in which the rest assumes its default position). The
font baseline should represent this staff position, with the exception of the whole
note (semibreve) rest, which should hang from the font baseline.
Bracket ends are positioned such that the point at which they connect to the top or
bottom of a vertical bracket is at y=0.
Letters for dynamics (and for D.C./D.S. in the repeats range) should be scaled such
that the caps height is around 0.5 em, and the x-height is around 0.25 em. Letters
for dynamics should also have non-zero side bearings to achieve good default
spacing when set in a single run.
31
Digits for time signatures should be scaled such that each digit is two staff spaces
tall, i.e. 0.5 em, and vertically centered on the baseline. Although some glyphs in
the time signatures range (such as the large + sign, common and cut time glyphs,
etc.) apply to the whole staff, these should likewise be vertically centered on the
baseline. Time signature digits should also have non-zero side bearings to achieve
good default spacing when set in a single run.
Parentheses (for accidentals, time signatures, figured bass, etc.) may have nonzero side bearings, in order to achieve good default spacing when set in a single
run with the glyphs they are intended to bracket.
Figured bass digits and function theory symbols should have non-zero side
bearings to achieve good default spacing when set in a single run.
Tessellating glyphs (such as wavy lines, or the component parts of complex trills
and mordents) should have negative side bearings, in order to achieve correct
tessellation when set in a single run.
Many of these guidelines are based on the conventions established by Adobes

Sonata font and carried through by most other fonts designed for use in scoring
applications, for the sake of making it as easy as possible for font and application
developers to transition their existing fonts and software to supporting SMuFLcompliant fonts.
Metadata for SMuFL-compliant fonts

To help software developers integrate SMuFL-compliant fonts, it is recommended that
font designers provide a font-specific metadata file, in JSON format, in the distribution
package for their fonts.
The metadata file allows the designer to provide information that cannot easily (or in
some cases at all) be encoded within or retrieved from the font software itself,
including recommendations for how to draw the elements of music notation not
provided directly by the font itself (such as staff lines, barlines, hairpins, etc.) in a
manner complementary to the design of the font, and important glyph-specific
metrics, such as the precise coordinates at which a stem should connect to a
notehead.
Glyph names may be supplied either using their Unicode code point or their canonical
glyph name (as defined in the glyphnames.json file see above). Measurements are
specified in staff spaces, using floating point numbers to any desired level of
precision.
The following key/value pairs are mandatory:
Key name
Description
"fontName"
The name of the font to which the metadata applies
32
"fontVersion"
The version number of the font to which the metadata applies
All other key/value pairs are optional.

engravingDefaults
The "engravingDefaults" structure contains key/value pairs defining recommended
defaults for line widths etc., as follows, with all measurements expressed in staff
spaces:
Key name
Description
"staffLineThickness"
The thickness of each staff line
"stemThickness"
The thickness of a stem
"beamThickness"
The thickness of a beam
"beamSpacing"
The distance between the inner edge of the primary and outer edge of
subsequent secondary beams
"legerLineThickness"
The thickness of a leger line (normally somewhat thicker than a staff line)
"legerLineExtension"
The amount by which a leger line should extend either side of a

notehead
"slurEndpointThickness"
The thickness of the end of a slur
"slurMidpointThickness"
The thickness of the mid-point of a slur (i.e. its thickest point)
"tieEndpointThickness"
The thickness of the end of a tie
"tieMidpointThickness"
The thickness of the mid-point of a tie
"thinBarlineThickness"
The thickness of a thin barline, e.g. a normal barline, or each of the lines
of a double barline
"thickBarlineThickness"
The thickness of a thick barline, e.g. in a final barline or a repeat barline
"dashedBarlineThickness"
The thickness of a dashed barline
"dashedBarlineDashLength"
The length of the dashes to be used in a dashed barline
"dashedBarlineGapLength"
The length of the gap between dashes in a dashed barline
"barlineSeparation"
The default distance between multiple barlines when locked together,

e.g. between two thin barlines making a double barline, or a thin and a
thick barline making a final barline, measured from the right-hand edge
of the left barline to the left-hand edge of the right barline.
"repeatBarlineDotSeparation"
The default horizontal distance between the dots and the inner barline
of a repeat barline, measured from the edge of the dots to the edge of
the barline.
"bracketThickness"
The thickness of the vertical line of a bracket grouping staves together
"subBracketThickness"
The thickness of the vertical line of a sub-bracket grouping staves

belonging to the same instrument together
"hairpinThickness"
The thickness of a crescendo/diminuendo hairpin
"octaveLineThickness"
The thickness of the dashed line used for an octave line
"pedalLineThickness"
The thickness of the line used for piano pedaling
33
Key name
Description
"repeatEndingLineThickness"
The thickness of the brackets drawn to indicate repeat endings
"arrowShaftThickness"
The thickness of the line used for the shaft of an arrow
"lyricLineThickness"
The thickness of the lyric extension line to indicate a melisma in vocal

music
"textEnclosureThickness"
The thickness of a box drawn around text instructions (e.g. rehearsal

marks)
"tupletBracketThickness"
The thickness of the brackets drawn either side of tuplet numbers
Below is a dummy "engravingDefaults" structure, with some of the values filled in:
{
...
"engravingDefaults": {
"staffLineThickness": 0.1,
"stemThickness": 0.1,
"beamThickness": 0.5,
"beamSpacing": 0.25,
"legerLineThickness": 0.2,
"legerLineExtension": 0.2,
...
},
...
}
glyphsWithAnchors
The "glyphsWithAnchors" structure contains a structure for each glyph for which
metadata is supplied, with the canonical glyph name or its Unicode code point as the
key. Each glyph may define any of the following key/value pairs:
Key name
Description
"splitStemUpSE"
The exact position at which the bottom right-hand (south-east)

corner of an angled upward-pointing stem connecting the righthand side of a notehead to a vertical stem to its left should start,
relative to the glyph origin, expressed as Cartesian coordinates in
staff spaces.
"splitStemUpSW"
The exact position at which the bottom left-hand (south-west) corner

of an angled upward-pointing stem connecting the left-hand side of
a notehead to a vertical stem to its right should start, relative to the
glyph origin, expressed as Cartesian coordinates in staff spaces.
"splitStemDownNE"
The exact position at which the top right-hand (north-east) corner of

an angled downward-pointing stem connecting the right-hand side
of a notehead to a vertical stem to its left should start, relative to the
"splitStemDownNW"
The exact position at which the top left-hand (north-west) corner of

an angled downward-pointing stem connecting the left-hand side of
a notehead to a vertical stem to its right should start, relative to the
34
Key name
Description
"stemUpSE"
The exact position at which the bottom right-hand (south-east)

corner of an upward-pointing stem rectangle should start, relative to
the glyph origin, expressed as Cartesian coordinates in staff spaces.
"stemDownNW"
The exact position at which the top left-hand (north-west) corner of

a downward-pointing stem rectangle should start, relative to the
"stemUpNW"
The amount by which an up-stem should be lengthened from its

nominal unmodified length in order to ensure a good connection
11
with a flag, in spaces.
"stemDownSW"
The amount by which a down-stem should be lengthened from its

nominal unmodified length in order to ensure a good connection
with a flag, in spaces.
"nominalWidth"
The width in staff spaces of a given glyph that should be used for
12
e.g. positioning leger lines correctly.
"numeralTop"
The position in staff spaces that should be used to position

numerals relative to clefs with ligated numbers where those
numbers hang from the bottom of the clef, corresponding
horizontally to the center of the numerals bounding box.
"numeralBottom"
The position in staff spaces that should be used to position

numerals relative to clefs with ligatured numbers where those
numbers sit on the baseline or at the north-east corner of the G clef,
corresponding horizontally to the center of the numerals bounding
box.
"cutOutNE"
The Cartesian coordinates in staff spaces of the bottom left corner

of a nominal rectangle that intersects the top right corner of the
glyphs bounding box. This rectangle, together with those in the
other four corners of the glyphs bounding box, can be cut out to
produce a more detailed bounding box (of abutting rectangles),
useful for kerning or interlocking symbols such as accidentals.
"cutOutSE"
The Cartesian coordinates in staff spaces of the top left corner of a

nominal rectangle that intersects the bottom right corner of the
glyphs bounding box.
"cutOutSW"
The Cartesian coordinates in staff spaces of the top right corner of a

nominal rectangle that intersects the bottom left corner of the
11
It is typical for noteheads and flags to be drawn using font glyphs, while stems themselves are drawn using primitive lines or
rectangles. Flag glyphs in SMuFL-compliant fonts are registered such that y=0 represents the end of a stem drawn at its normal
length, i.e. typically 3.5 staff spaces, so for simple drawing, any flag can be drawn at the same position relative to the stem and give
the correct visual stem length. Modern drawing APIs typically provide sub-pixel RGB anti-aliasing for font glyphs, but may only
provide grayscale anti-aliasing for primitive shapes. If the stem is drawn at its normal length with a flag glyph continuing beyond the
end of the stem, there may be a poor visual appearance resulting from the primitive stem using standard anti-aliasing and the flag
glyph using sub-pixel anti-aliasing. Therefore, it is recommended to extend the stem by the additional height of the flag such that the
primitive stem stops at the end (or just short of the end) of the flag. Because the amount by which the stem should be extended is
highly dependent on the design of the flag in a particular font, this value should be specified for each flag glyph in the metadata
JSON file.
12
Certain fonts, for example those that mimic music calligraphy, may include glyphs that are asymmetric by design, and where a
simple calculation of the glyphs bounding box will not provide the correct result for registering that glyph with other primitives. For
example, a whole rest may be slightly oblique if mimicking a chisel nib pen, and for precise registration it may be necessary to specify
its width independent of the glyphs actual bounding box.
35
Key name
Description
"cutOutNW"
The Cartesian coordinates in staff spaces of the bottom right corner

of a nominal rectangle that intersects the top left corner of the
"graceNoteSlashSW"
The Cartesian coordinates in staff spaces of the position at which

the glyph graceNoteSlashStemUp should be positioned relative to
the stem-up flag of an unbeamed grace note; alternatively, the
bottom left corner of a diagonal line drawn instead of using the
above glyph.
"graceNoteSlashNE"
The Cartesian coordinates in staff spaces of the top right corner of a

diagonal line drawn instead of using the glyph
graceNoteSlashStemUp for a stem-up flag of an unbeamed grace
note.
"graceNoteSlashNW"
The Cartesian coordinates in staff spaces of the position at which

the glyph graceNoteSlashStemDown should be positioned relative
to the stem-down flag of an unbeamed grace note; alternatively, the
top left corner of a diagonal line drawn instead of using the above
glyph.
"graceNoteSlashSE"
The Cartesian coordinates in staff spaces of the bottom right corner

of a diagonal line drawn instead of using the glyph
graceNoteSlashStemDown for a stem-down flag of an unbeamed
grace note.
"repeatOffset"
The Cartesian coordinates in staff spaces of the horizontal position

at which a glyph repeats, i.e. the position at which the same glyph or
another of the same group should be positioned to ensure correct
tessellation. This is used for e.g. multi-segment lines and the
component glyphs that make up trills and mordents.
"noteheadOrigin"
The Cartesian coordinates in staff spaces of the left-hand edge of a

notehead with a non-zero left-hand side bearing (e.g. a double
whole, or breve, notehead with two vertical lines at each side), to
assist in the correct horizontal alignment of these noteheads with
other noteheads with zero-width left-side bearings.
"opticalCenter"
The Cartesian coordinates in staff spaces of the optical center of the

glyph, to assist in the correct horizontal alignment of the glyph
relative to a notehead or stem. Currently recommended for use with
glyphs in the Dynamics range.
Below is an excerpt of a dummy font metadata file for the Bravura font, with some of
the "glyphsWithAnchors" structure filled in:
{
...
"glyphsWithAnchors": {
"noteheadBlack": {
"stemDownNW": [
0.0,
-0.184
],
"stemUpSE": [
36
1.328,
0.184
]
},
...
},
...
}
glyphsWithAlternates
The "glyphsWithAlternates" structure contains a list of the glyphs in the font for which
stylistic alternates are provided, together with their name and code point. Applications
that cannot access advanced font features like OpenType stylistic alternates can
instead determine the presence of an alternate for a given glyph, and its code point,
using this data.
Below is an excerpt from a dummy font metadata file for Bravura, with a section of the
"glyphsWithAlternates" structure filled in:
{
...
"glyphsWithAlternates": {
"flag8thUp": {
"alternates": [
{
"codepoint": "U+F410",
"name": "flag8thUpStraight",
},
{
"name": "flag8thUpShort"
}
]
},
"gClef": {
"alternates": [
{
"name": "gClefSmall"
}
]
},
...
}
For each recommended glyph for which one or more alternates is provided, the
"alternates" structure provides an array containing the name and code point of each
alternate. Font designers are encouraged to use a consistent naming scheme for
alternates.
37
glyphBBoxes
The optional "glyphBBoxes" structure contains information about the actual bounding
box for each glyph. 13 The glyph bounding box is defined as the smallest rectangle that
encloses every part of the glyphs path, and is described as a pair of coordinates for
the bottom-left (or southwest) and top-right (or northeast) corners of the rectangle,
expressed staff spaces to any required degree of precision, relative to the glyph
origin.
"glyphBBoxes" structure filled in:
{
...
"glyphBBoxes":
{
"brace": {
"bBoxNE": [
0.328,
3.988
],
"bBoxSW": [
0.008,
0.0
]
},
"braceFlat": {
"bBoxNE": [
0.36,
4.084
],
"bBoxSW": [
0.0,
0.004
]
},
...
}
}
For each glyph, the "glyphBBoxes" structure provides the glyphs name and the
coordinates of the opposite corners of the bounding rectangle (keys bBoxSW and
bBoxNE).
13
This data is provided primarily for MakeMusic Finale (www.finalemusic.com), which requires bounding box data for certain
graphical and spacing calculations performed by the software. This information is stored in a per-font data file called a Font
Annotation (FAN) file, and can be edited directly within Finale in the Font Annotation dialog. Font designers who choose to provide
this information for SMuFL-compliant fonts can save end users the steps of creating Font Annotation files in Finale, as future versions
of Finale may be able to consume this metadata directly and automatically produce the required Font Annotation file.
38
ligatures
The "ligatures" structure contains a list of ligatures defined in the font. Applications
that cannot access advanced font features like OpenType ligatures can instead
determine the presence of a ligature that joins together a number of recommended
glyphs, and its code point, using this data.
"ligatures" structure filled in:
{
...
"ligatures": {
"accidentalDoubleFlatParens": {
"componentGlyphs": [
"accidentalParensLeft",
"accidentalDoubleFlat",
"accidentalParensRight"
]
},
...
}
The structure uses the name of the ligature as its key, and the values include its code
point, and its component glyphs. The component glyphs should be listed in an array
called "componentGlyphs", in the same order as they are listed in e.g. the liga
OpenType table.
sets
The "sets" structure contains a list of stylistic sets defined in the font. Applications that
cannot access advanced font features like OpenType stylistic sets can instead
determine the presence of sets in a font, the purpose of each set, and the name and
code point of each glyph in each set, using this data.
The purpose of each set is specified by the "type" key, which can have any of the
following values:
Value
Description
"opticalVariantsSmall"
Glyphs designed for use on smaller staff sizes.
"flagsShort"
Alternate shorter flags for notes with augmentation dots.
"flagsStraight"
Alternate flags that are straight rather than curved.
"timeSigsLarge"
Alternate time signature digits for use outside the staff.
"noteheadsLarge"
Alternate oversized noteheads.
The current list of values for "type" are based on the sets present in Bravura. If you are
a font designer and wish to add other sets to your own font, please propose a new
39
value and description for the "type" key to the SMuFL community so that it can be
discussed and subsequently added to the above list in a future revision.
"sets" structure filled in:
{
...
"sets": {
"ss01": {
"type": "opticalVariantsSmall",
"description": "Smaller optical size for small staves",
"glyphs": [
{
"name": "accidentalFlatSmall",
"alternateFor": "accidentalFlat"
},
{
"name": "accidentalNaturalSmall",
"alternateFor": "accidentalNatural"
},
{
"codepoint": "U+F42A",
"name": "accidentalSharpSmall",
"alternateFor": "accidentalSharp"
},
...
],
},
"ss02": {
"type": "FlagsShort",
"description": "Short flags (to avoid augmentation dots)",
"glyphs": [
{
"name": "flag8thUpShort",
"alternateFor": "flag8thUp"
},
{
"name": "flag16thUpShort",
"alternateFor": "flag16thUp"
},
...
],
},
...
}
...
40
The structure uses the name of the set as its key, and the values include the code point
and name of the alternate glyph, together with the name of the character for which
this is an alternate ("alternateFor").
optionalGlyphs
The "optionalGlyphs" structure contains a list of all the optional glyphs (those in the
range of code points U+F400U+FFFF) contained within the font. Applications that
cannot use advanced OpenType features can use this structure to identify the
presence of stylistic alternates (though the "glyphsWithAlternates" and "sets"
structures also specify the original glyphs for each alternate by name).
However, a font designer may choose to include some characters in his font that are
neither recommended characters in the core SMuFL ranges nor alternates for any of
those characters, i.e. completely private to the particular font. This structure provides a
direct way for a consuming application to identify the name, code point, and optional
class (or classes) for each optional glyph in the font.
"optionalGlyphs" structure filled in:
{
...
"optionalGlyphs": {
"accdnPushAlt": {
"classes": [],
"codepoint": "U+F45B"
},
"accidentalDoubleFlatJoinedStems": {
"classes": [
"accidentals",
"accidentalsSagittalMixed",
"accidentalsStandard",
"combiningStaffPositions"
],
"codepoint": "U+F4A1"
},
"accidentalDoubleFlatParens": {
"codepoint": "U+F566"
},
...
},
...
}
The structure uses the name of each optional glyph as the key, and the values include
the code point and an optional list of classes to which the glyph belongs. (The class
41
names should be taken from the classes.json SMuFL metadata file where possible,
though font designers can define new classes as required.)
Example of glyph registration for notes with flags

The figure below shows how font-specific metadata may be used in conjunction with
the conventions of glyph registration to construct two notes: an up-stem 16th note
(semiquaver), and a down-stem 32nd (demisemiquaver).
The horizontal grey lines denote staff lines, for scale.
The light blue boxes show glyph bounding boxes, with the left-hand side of the
box corresponding to x=0, while the horizontal lines bisecting the blue boxes
show the origin for each glyph, i.e. y=0.
The red boxes show the locations of the glyph attachment points, as specified in
the font metadata JSON file.
The shaded area on the down-stem note shows the amount by which a stem of
standard length (i.e. the unfilled portion of the stem) should be extended in order
to ensure good on-screen appearance at all zoom levels.
Note that the stemUpSE attachment point corresponds to the bottom right-hand (or
south-east) corner of the stem, while stemDownNW corresponds to the top left-hand
(or north-west) corner of the stem. Likewise, for correct alignment, the flag glyphs
42
must always be aligned precisely to the left-hand side of the stem, with the glyph
origin positioned vertically at the end of the normal stem length.
Bounding box cut-outs

The four points cutOutNE, cutOutSE, cutOutSW and cutOutNW describe rectangular
cut-outs from the four corners of a glyphs rectangular bounding box. The bounding
box is the box with the smallest area that encloses every part of the path of a glyph.
Because a glyph may not occupy every part of its bounding box, it can be useful to
have an extra level of detail about the shape of the glyph, but at a coarser level than
directly examining the path of the glyph to determine which areas of the bounding
box are occupied and which are empty.
For example, when stacking accidentals to the left of a chord, accidentals are arranged
into columns, where accidentals belonging to notes separated by a wide interval
(normally a seventh or more) are aligned in the same column, i.e. at the same
horizontal position. Successive columns of accidentals are laid out from right to left to
the left of a chord, and depending on the accidentals that are present, it may be
possible to interlock or kern those columns. The figure below shows a simple
example:
In the first chord above, the two columns of accidentals (numbered 0 and 1) are
positioned almost as close as the bounding boxes of the accidentals (shown in light
blue) in each column will allow. In the second chord, column 1 is allowed to interlock
with column 0 because the cut-outs in the bounding boxes of the two accidentals
(shown as dashed red lines) are removed: the bounding boxes of the accidentals can
overlap, provided it is only the cut-outs that overlap.
Font designers can specify four cut-outs to the bounding box, one in each corner, as
illustrated in the figure below:
43
Each cut-out is specified as a pair of X,Y coordinates (in spaces), describing the
innermost corner of a nominal rectangle that intersects the bounding box. For
example, cutOutNE specifies the bottom left corner of a rectangle that intersects the
top right corner of the bounding box of the glyph. The positions of each of the other
corners of the cut-out rectangle are calculated using the bounding box of the glyph.
Repeat offsets
the wiggly line that follows the symbol, or any of the glyphs in the Multi-segment
The repeatOffset point is defined for glyphs that are designed to tessellate, such as
lines range.
These glyphs are registered such that they may have negative side bearings on either
or both the left- and right-hand sides. When entered in a run of text, the advance
width produces the correct tessellation. However, in some situations it may not be
possible to use a run of text to draw such a line, or the API in use may not provide easy
access to the advance width of a glyph (e.g. when using the HTML canvas element).
In these situations, correct tessellation can be achieved by positioning the origin of
subsequent glyphs in a tessellating line at the horizontal position defined by the
repeatOffset point for a given glyph.
Here, for example, is an illustration of the glyph wiggleTrill:
44
The vertical dashed lines show the left- and right-hand side bearings for this glyph.
The repeatOffset anchors coordinates are at the x position of the right-hand side
bearing and y = 0. Positioning another trillWiggle glyph at the position of the
repeatOffset anchor produces correct tessellation, like this:
Aligning noteheads horizontally

The noteheadOrigin point is defined for noteheads with non-zero left-hand side
bearings, such as the double whole (breve) notehead that has two vertical lines at
either side of the oval notehead itself, as illustrated in the figure below:
45
The light blue boxes show glyph bounding boxes, with the left-hand side of the
box corresponding to x=0.
The vertical dashed grey lines denote the left-hand edge of the rhythmic position,
i.e. the position against which the notehead is aligned.
The red box shows the location of the noteheadOrigin point, as specified in the
font metadata JSON file.
The left-hand example shows the alignment that will be produced simply by
positioning notehead glyphs using the left-hand edges of their bounding boxes. The
right-hand example shows the superior alignment that can be produced by offsetting
the double whole (breve) note leftwards by the distance between x=0 and the
noteheadOrigin point.
Aligning dynamics with noteheads and stems

The opticalCenter point is defined for glyphs that are normally centered on a
notehead or stem, such as dynamics. There are a number of possible approaches to
centering a dynamic, which are illustrated in the figure below:
The light blue boxes show glyph bounding boxes.
The intersecting vertical and horizontal dashed light blue lines show the glyph
origin relative to its bounding box.
The vertical dashed grey lines denote the center of the notehead, the point
against which the dynamics should be aligned.
46
The vertical dashed red line shows the position of the opticalCenter point, as
specified in the font metadata JSON file.
The figure shows that centering the dynamic by determining the bounding rectangle
and using half its width is least satisfactory, while using half the advance width is an
acceptable default in the absence of a specific optical center position determined by
the font designer.
balancing point, relative to e.g. the bowl of the italic or the curve at the top of the
The opticalCenter point can be set by the font designer to provide a very specific
italic .
Metrics and glyph registration for text-based applications

The following guidelines are provided for fonts intended for use in text-based
applications, such as word processors, desktop publishers and other text editors.
Upper case letters in a text font do not typically occupy the whole height of the em
square: instead, they typically occupy around 7580% of the height of the em square,
with the key metrics for ascender and caps height both falling within this range. In
order for the line spacing of a font containing music characters to be equivalent to that
of a text font, its key metrics must match, i.e. the ascender, caps height and descender
must be very similar. Glyphs with unusually large ascenders and descenders (such as
notes of short duration with multiple flags) should not be scaled individually in order
to fit within the ascender height, as they will not then fit with the other glyphs at the
same point size; however, the behavior of glyphs that extend beyond the fonts
ascender and descender metrics is highly variable between different applications.
Leading on from the premise that a SMuFL-compliant font for text-based applications
should use metrics compatible with regular text fonts, specific guidelines are as
follows:
Dividing 80% of the height of the em in four provides an analogue for a five-line
staff. If a font uses 1000 upm (design units per em), as is conventional for a
PostScript font, the height of a five-line staff is 800 design units, or 0.8 em;
therefore, one staff space height is 200 design units, or 0.2 em. If a font uses
2048 upm, as is conventional for a TrueType font, the height of a five-line staff is
1640 design units, and one staff space is 410 design units.
The origin (bottom left corner of the em square, i.e. x = 0 and y = 0 in font design
space) therefore represents the middle of the bottom staff line of a nominal fiveline staff, and y = 0.8 em represents the middle of the top staff line of that same
five-line staff.
Unless otherwise stated, all glyphs should be drawn at a scale consistent with the
key measurement that one staff space = 0.2 em.
47
Unless otherwise stated, all glyphs shall be horizontally registered so that their
leftmost point coincides with x = 0.
Unless otherwise stated, all glyphs shall have zero-width side bearings, i.e. no
blank space to the left or right of the glyph.
Staff line and leger line glyphs should have an advance width of zero, so that other
glyphs can be drawn on top of them easily.
Time signature digits should also have an advance width of zero, so that they can
be positioned above each other (using the timeSigCombNumerator and
timeSigCombDenominator ligatures).
Clefs should be positioned such that they are aligned with the five-line staff glyphs
(e.g. staff5lines) at their most usual staff position: G clefs (in the class clefsG)
should be positioned such that the bottom loop is aligned with the bottom staff
line (0.2 em higher than the position in a SMuFL-compliant font for a scoring
application); F clefs (in the class clefsF) should be positioned such that the secondhighest staff line passes between the two dots (0.6 em higher than in a font for a
scoring application); and C clefs (in the class clefsC) should be positioned such
that the middle staff line passes through the middle of the clef (0.4 em higher than
in a font for a scoring application). 14
Glyphs that can appear at different staff positions, e.g. noteheads, notes,
accidentals, etc. (in class combiningStaffPositions), should be positioned such that
they are centered around the middle staff line of the five-line staff glyphs (i.e.
centered vertically around y = 0.4 em).
To enable the positioning of glyphs at different staff positions, fonts should

support the combination of combining staff position control characters and glyphs
in the class combiningStaffPositions using a glyph substitution feature such as
OpenType ligatures. This allows the end user to position e.g. a black notehead on
the second-highest staff line by using a ligature of staffPosRaise2 and
noteheadBlack.
Letters for dynamics and numbers for octave lines should be scaled such that the
x-height is around 0.5 em, consistent with other typical text fonts.
Ornaments symbols should be scaled such that e.g. the symbol is around 0.5
em in height (e.g. a scale factor of 150% compared to fonts intended for use in
scoring applications).
14
The recommended default placement for C clefs is on the middle staff line, i.e. as an alto clef. Positioning the C clef such that it is
centered around the second-highest staff line, i.e. as a tenor clef, can be achieved using the combining staff position control
characters, if the font implements ligatures or other glyph substitution features.
48
Keyboard pedal marks should be scaled such that e.g. the symbol is around
0.75 em in height (e.g. a scale factor of 130% compared to fonts intended for use
in scoring applications).
Percussion pictograms should be scaled such that they are around 0.75 em in
height.
Figured bass digits should be scaled such that e.g. is around 0.5 em in height
(e.g. a scale factor of 185% compared to fonts intended for use in scoring
applications).
Composite note glyphs for setting in-line with characters from other text fonts (e.g.
those in the Metronome marks range) should be positioned such that they sit on
the font baseline (in contrast to notes intended for drawing on a staff, e.g. those in
the Individual notes range).
Font-specific metadata locations

SMuFL-compliant applications running on desktop operating systems such as
Windows, OS X, or Linux need to be able to determine whether a given font installed
on the system is itself SMuFL-compliant.
There is no simple way to encode this information in the font itself 15, so instead
applications should identify SMuFL-compliant fonts by the presence of the fontspecific JSON metadata file in a known location.
System-wide location
It is recommended that, if possible, the font metadata is installed in a system-wide
location that allows access by all users on the system:
Windows: %COMMONPROGRAMFILES%/SMuFL/Fonts/fontname/fontname.json
OS X: /Library/Application Support/SMuFL/Fonts/fontname/fontname.json
Linux: /usr/share/SMuFL/Fonts/fontname/fontname.json
On Windows, the %COMMONPROGRAMFILES% environment variable expands to

C:\Program Files\Common Files, or its localised equivalent.
It is typically necessary to require administrator privileges to install files into these
locations. However, it is also recommended that, if possible, fonts themselves should
also be installed in system-wide locations, so if the metadata is installed by the same
installer as the fonts, no additional privileges will typically be required.
15
None of the existing tables in TrueType or OpenType fonts lend themselves to storing arbitrary data that could be used to identify a
SMuFL-compliant font without subverting the purpose of an existing field in a table, which could have unforeseen side effects.
49
User-specific location
If it is impossible or inappropriate to install the font metadata in a system-wide
location, use a user-specific location instead:
Windows: %LOCALAPPDATA%/SMuFL/Fonts/fontname/fontname.json
OS X: ~/Library/Application Support/SMuFL/Fonts/fontname/fontname.json
Linux: ~/.local/share/SMuFL/Fonts/fontname/fontname.json
On Windows, %LOCALAPPDATA% expands to C:\Users\username\AppData\Local.

On OS X and Linux, ~ is a shortcut to the current user's home folder, e.g.
/Users/username/ on OS X.
It is not typically necessary to require administrator privileges to install files into these
locations. However, files installed in these locations will not be accessible to any other
user account on the system.
Private fonts
If a font is not designed to be used outside of a particular, specific application, then of
course it is not mandatory for it to be installed in a system-wide location, nor for its
metadata to be installed in these publicly accessible locations: a private font intended
for use within the confines of a single application may choose to install its metadata in
any convenient private location.
Precedence rules
Because font-specific metadata may be installed in either (or both) a user-level
location or a system-level location, applications should give metadata found in the
user-level location precedence over metadata found in the system-level location.
50
Staff brackets and dividers (U+E000U+E00F)
Staff brackets and dividers (U+E000 U+E00F)
U+E000 (and U+1D114)
brace
Brace
U+E002 (and U+1D115)
bracket
Bracket
U+E004
bracketBottom
Bracket bottom
U+E006
reversedBracketBottom
Reversed bracket bottom
U+E008
systemDividerLong
Long system divider
U+E00A
splitBarDivider
Split bar divider (bar spans a system
break)
U+E00C
staffDivideArrowUp
Staff divide arrow up
Recommended stylistic alternates
uniE000.salt01
braceSmall
Brace (small)
51
U+E001
reversedBrace
Reversed brace
U+E003
bracketTop
Bracket top
U+E005
reversedBracketTop
Reversed bracket top
U+E007
systemDivider
System divider
U+E009
systemDividerExtraLong
Extra long system divider
U+E00B
staffDivideArrowDown
Staff divide arrow down
U+E00D
staffDivideArrowUpDown
Staff divide arrows
uniE000.salt02
braceLarge
Brace (large)
Staff brackets and dividers (U+E000U+E00F)
uniE000.salt03
braceLarger
Brace (larger)
uniE000.salt04
braceFlat
Brace (flat)
Implementation notes
The brace glyph should be scaled vertically in a scoring application to the appropriate
height of the two or more staves it encompasses.
bracket is a complete bracket of a fixed height useful for displaying brackets in textbased documents or applications.
To display a bracket of variable height in a scoring application, use bracketTop and
bracketBottom as the top and bottom terminals of a bracket drawn using a stroked
line or filled rectangle of the appropriate width.
52
Staves (U+E010U+E02F)
Staves (U+E010 U+E02F)
U+E010 (and U+1D116)
staff1Line
1-line staff
U+E012 (and U+1D118)
staff3Lines
3-line staff
U+E014 (and U+1D11A)
staff5Lines
5-line staff
U+E016
staff1LineWide
1-line staff (wide)
U+E018
staff3LinesWide
3-line staff (wide)
U+E01A
staff5LinesWide
5-line staff (wide)
U+E01C
staff1LineNarrow
1-line staff (narrow)
U+E01E
staff3LinesNarrow
U+E020
staff5LinesNarrow
53
U+E011 (and U+1D117)

staff2Lines
2-line staff
U+E013 (and U+1D119)

staff4Lines
4-line staff
U+E015 (and U+1D11B)

staff6Lines
6-line staff
U+E017
staff2LinesWide
2-line staff (wide)
U+E019
staff4LinesWide
4-line staff (wide)
U+E01B
staff6LinesWide
6-line staff (wide)
U+E01D
staff2LinesNarrow
U+E01F
staff4LinesNarrow
U+E021
staff6LinesNarrow
Staves (U+E010U+E02F)
U+E022
legerLine
Leger line
U+E024
U+E023
legerLineWide
Leger line (wide)
legerLineNarrow
Leger line (narrow)
Scoring programs should draw their own staff lines using primitives, not use the
glyphs in this range.
Narrow and wide versions are provided for use in fonts intended for use in text-based
applications. These glyphs should be zero-width in such fonts.
54
Barlines (U+E030U+E03F)
Barlines (U+E030 U+E03F)
U+E030 (and U+1D100)
barlineSingle
Single barline
U+E032 (and U+1D102)
barlineFinal
Final barline
U+E034
barlineHeavy
Heavy barline
U+E036 (and U+1D104)
barlineDashed
Dashed barline
U+E038 (and U+1D105)
barlineShort
Short barline
U+E031 (and U+1D101)

barlineDouble
Double barline
U+E033 (and U+1D103)

barlineReverseFinal
Reverse final barline
U+E035
barlineHeavyHeavy
Heavy double barline
U+E037
barlineDotted
Dotted barline
U+E039
barlineTick
Tick barline
Scoring programs should draw their own barlines using primitives, not use the glyphs
in this range.
55
Repeats (U+E040U+E04F)
Repeats (U+E040 U+E04F)
U+E040 (and U+1D106)
repeatLeft
Left (start) repeat sign
U+E042
repeatRightLeft
Right and left repeat sign
U+E044
repeatDot
Single repeat dot
daCapo
Da capo
U+E048 (and U+1D10C)
coda
Coda
U+E04A
segnoSerpent1
Segno (serpent)
U+E04C
uniE042.salt01
leftRepeatSmall
Left repeat sign within bar
repeatRightLeftThick
RIght and left repeat sign (thick-thick)
56
U+E041 (and U+1D107)

repeatRight
Right (end) repeat sign
U+E043 (and U+1D108)

repeatDots
Repeat dots
U+E045 (and U+1D109)

dalSegno
Dal segno

segno
Segno
U+E049
codaSquare
Square coda
U+E04B
segnoSerpent2
Segno (serpent with vertical lines)
U+E04D
rightRepeatSmall
Right repeat sign within bar
uniE047.salt01
segnoJapanese
Segno (Japanese style, rotated)
Repeats (U+E040U+E04F)
uniE048.salt01
codaJapanese
Coda (Japanese style, serif)
Scoring programs should draw their own repeat barlines using primitives to draw the
thick and thin lines and repeatDots to draw the dots, not use the precomposed glyphs
leftRepeat or rightRepeat.
dalSegno and daCapo are provided for compatibility with the Unicode Musical
Symbols range. Scoring applications should allow the user to specify the appearance
of the da capo and dal segno instructions using any regular text font.
57
Clefs (U+E050U+E07F)
Clefs (U+E050 U+E07F)
U+E050 (and U+1D11E)
gClef
G clef
U+E052 (and U+1D120)
gClef8vb
G clef ottava bassa
U+E054
gClef15ma
G clef quindicesima alta
U+E056
gClef8vbCClef
G clef ottava bassa with C clef
U+E058
gClefLigatedNumberBelow
Combining G clef, number below
U+E05A
gClefArrowUp
G clef, arrow up
U+E05C (and U+1D121)
cClef
C clef
U+E05E
cClefArrowUp
C clef, arrow up
U+E060
cClefSquare
C clef (19th century)
58
U+E051
gClef15mb
G clef quindicesima bassa
U+E053 (and U+1D11F)

gClef8va
G clef ottava alta
U+E055
gClef8vbOld
G clef ottava bassa (old style)
U+E057
gClef8vbParens
G clef, optionally ottava bassa
U+E059
gClefLigatedNumberAbove
Combining G clef, number above
U+E05B
gClefArrowDown
G clef, arrow down
U+E05D
cClef8vb
C clef ottava bassa
U+E05F
cClefArrowDown
C clef, arrow down
U+E061
cClefCombining
Combining C clef
U+E062 (and U+1D122)
fClef
F clef
U+E064 (and U+1D124)
fClef8vb
F clef ottava bassa
U+E066
fClef15ma
F clef quindicesima alta
U+E068
fClefArrowDown
F clef, arrow down
U+E06A (and U+1D126)
unpitchedPercussionClef2
Unpitched percussion clef 2
U+E06C
semipitchedPercussionClef2
Semi-pitched percussion clef 2
U+E06E
4stringTabClef
4-string tab clef
U+E070
schaefferPreviousClef
Schffer previous clef
U+E072
schaefferFClefToGClef
Schffer F clef to G clef change
59
U+E063
fClef15mb
F clef quindicesima bassa
U+E065 (and U+1D123)

fClef8va
F clef ottava alta
U+E067
fClefArrowUp
F clef, arrow up
U+E069 (and U+1D125)

unpitchedPercussionClef1
Unpitched percussion clef 1
U+E06B
semipitchedPercussionClef1
Semi-pitched percussion clef 1
U+E06D
6stringTabClef
6-string tab clef
U+E06F
schaefferClef
Schffer clef
U+E071
schaefferGClefToFClef
Schffer G clef to F clef change
U+E073
gClefReversed
Reversed G clef
U+E074
gClefTurned
Turned G clef
U+E076
fClefReversed
Reversed F clef
U+E078
bridgeClef
Bridge clef
U+E07A
gClefChange
G clef change
U+E07C
fClefChange
F clef change
U+E07E
clef15
15 for clefs
uniE050.ss01
gClefSmall
G clef (small staff)
uniE05C.ss01
cClefSmall
C clef (small staff)
uniE062.salt02
fClef19thCentury
F clef (19th century)
60
U+E075
cClefReversed
Reversed C clef
U+E077
fClefTurned
Turned F clef
U+E079
accdnDiatonicClef
Diatonic accordion clef
U+E07B
cClefChange
C clef change
U+E07D
clef8
8 for clefs
U+E07F
clefChangeCombining
Combining clef change
uniE05C.salt01
cClefFrench
C clef (French, 18th century)
uniE062.salt01
fClefFrench
F clef (French, 18th century)
uniE062.ss01
fClefSmall
F clef (small staff)
uniE069.salt01
unpitchedPercussionClef1Alt
Unpitched percussion clef 1 (thick-thin)
uniE06D.salt02
6stringTabClefSerif
6-string tab clef (serif)
uniE06E.salt02
uniE06D.salt01
6stringTabClefTall
6-string tab clef (tall)
uniE06E.salt01
4stringTabClefTall
4-string tab clef (tall)
4stringTabClefSerif
4-string tab clef (serif)
Recommended ligatures
uniE062_uniE885
fClef5Below
F clef, 5 below
uniE058_uniE881_uniE880
gClef10Below
G clef, 10 below
gClef12Below
G clef, 12 below
gClef14Below
G clef, 14 below
gClef16Below
G clef, 16 below
uniE059_uniE882
gClef2Above
G clef, 2 above
61
uniE058_uniE880
gClef0Below
G clef, 0 below
gClef11Below
G clef, 11 below
gClef13Below
G clef, 13 below
gClef15Below
G clef, 15 below
gClef17Below
G clef, 17 below
uniE058_uniE882
gClef2Below
G clef, 2 below
uniE059_uniE883
gClef3Above
G clef, 3 above
uniE059_uniE884
gClef4Above
G clef, 4 above
uniE059_uniE885
gClef5Above
G clef, 5 above
uniE059_uniE886
gClef6Above
G clef, 6 above
uniE059_uniE887
gClef7Above
G clef, 7 above
uniE059_uniE888
gClef8Above
G clef, 8 above
uniE059_uniE889
gClef9Above
G clef, 9 above
uniE058_uniE881_uniE880_uniE260
gClefFlat10Below
G clef, flat 10 below
gClefFlat13Below
62
uniE058_uniE883
gClef3Below
G clef, 3 below
uniE058_uniE884
gClef4Below
G clef, 4 below
uniE058_uniE885
gClef5Below
G clef, 5 below
uniE058_uniE886
gClef6Below
G clef, 6 below
uniE058_uniE887
gClef7Below
G clef, 7 below
uniE058_uniE888
gClef8Below
G clef, 8 below
uniE058_uniE889
gClef9Below
G clef, 9 below
gClefFlat11Below
gClefFlat14Below
gClefFlat15Below
gClefFlat1Below
gClefFlat2Below
gClefFlat3Below
gClefFlat5Above
G clef, flat 5 above
gClefFlat6Below
gClefFlat7Below
gClefFlat9Above
gClefNat2Below
G clef, natural 2 below
63
gClefFlat16Below
gClefFlat2Above
gClefFlat3Above
gClefFlat4Below
gClefFlat6Above
gClefFlat7Above
gClefFlat8Above
gClefFlat9Below
gClefNatural10Below
gClefNatural13Below
gClefNatural2Above
G clef, natural 2 above
gClefNatural3Below
gClefNatural6Below
gClefNatural9Above
gClefSharp12Below
G clef, sharp 12 below
gClefSharp4Above
G clef, sharp 4 above
gClefNatural17Below
gClefNatural3Above
gClefNatural6Above
gClefNatural7Above
gClefNatural9Below
gClefSharp1Above
G clef, sharp 1 above
gClefSharp5Below
G clef, sharp 5 below
Scoring applications may choose to create e.g. ottava alta and ottava bassa versions of
the G clef and F clef by combining gClef and fClef with clef8 and clef15 rather than
using the precomposed glyphs.
The basic G clef, F clef and C clef symbols can be positioned at different vertical
positions relative to the staff as required (e.g. the C clef can be positioned to create an
alto or tenor clef).
64
Clef changes are normally drawn at two-thirds the size of clefs at the beginning of the
system 16, but different publishers and engravers may prefer to use a different size.
Dedicated glyphs for drawing a clef change are provided for the three most
commonly-used clefs (gClefChange, cClefChange, and fClefChange), together with a
combining control character (clefChangeCombining) that font designers may use to
produce smaller versions of less commonly-used clefs by way of glyph substitution
(such as OpenType ligatures). Scoring applications may choose to use these
dedicated clef change glyphs if they do not provide the end user with control over the
size of clef changes. Otherwise, scoring applications should draw clef changes by
using the regular clef glyphs at a smaller point size, either fixed at two-thirds the size of
normal clefs, or at a size of the end users choosing.
16
Gould, ibid., page 7.
65
Time signatures (U+E080U+E09F)
Time signatures (U+E080 U+E09F)
U+E080
timeSig0
Time signature 0
U+E082
timeSig2
Time signature 2
U+E084
timeSig4
Time signature 4
U+E086
timeSig6
Time signature 6
U+E088
timeSig8
Time signature 8
U+E08A (and U+1D134)
timeSigCommon
Common time
U+E08C
timeSigPlus
Time signature +
U+E08E
timeSigFractionalSlash
Time signature fraction slash
U+E090
timeSigMinus
Time signature minus
66
U+E081
timeSig1
Time signature 1
U+E083
timeSig3
Time signature 3
U+E085
timeSig5
Time signature 5
U+E087
timeSig7
Time signature 7
U+E089
timeSig9
Time signature 9
U+E08B (and U+1D135)

timeSigCutCommon
Cut time
U+E08D
timeSigPlusSmall
Time signature + (for numerators)
U+E08F
timeSigEquals
Time signature equals
U+E091
timeSigMultiply
Time signature multiply
U+E092
timeSigParensLeftSmall
Left parenthesis for numerator only
U+E094
timeSigParensLeft
Left parenthesis for whole time
signature
U+E096
timeSigComma
Time signature comma
U+E098
timeSigFractionHalf
Time signature fraction
U+E09A
timeSigFractionOneThird
U+E09C
timeSigX
Open time signature
U+E09E
timeSigCombNumerator
Control character for numerator digit
uniE080.ss04
timeSig0Large
Time signature 0 (outside staff)
uniE081.ss04
timeSig1Large
67
U+E093
timeSigParensRightSmall
Right parenthesis for numerator only
U+E095
timeSigParensRight
Right parenthesis for whole time
signature
U+E097
timeSigFractionQuarter
U+E099
timeSigFractionThreeQuarters
U+E09B
timeSigFractionTwoThirds
U+E09D
timeSigOpenPenderecki
Open time signature (Penderecki)
U+E09F
timeSigCombDenominator
Control character for denominator digit
uniE080.ss01
timeSig0Small
Time signature 0 (small staff)
uniE081.ss01
timeSig1Small
uniE082.ss04
timeSig2Large
uniE083.ss04
timeSig3Large
uniE084.ss04
timeSig4Large
uniE085.ss04
timeSig5Large
uniE086.ss04
timeSig6Large
uniE087.ss04
timeSig7Large
uniE088.ss04
timeSig8Large
uniE089.ss04
timeSig9Large
uniE08A.ss04
timeSigCommonLarge
Common time (outside staff)
68
uniE082.ss01
timeSig2Small
uniE083.ss01
timeSig3Small
uniE084.ss01
timeSig4Small
uniE085.ss01
timeSig5Small
uniE086.ss01
timeSig6Small
uniE087.ss01
timeSig7Small
uniE088.ss01
timeSig8Small
uniE089.ss01
timeSig9Small
uniE08B.ss04
timeSigCutCommonLarge
Cut time (outside staff)
uniE08C.ss04
timeSigPlusLarge
Time signature + (outside staff)
uniE09F_uniE080
timeSig0Denominator
Time signature 0 (denominator)
uniE09F_uniE081
timeSig1Denominator
uniE09F_uniE082
timeSig2Denominator
uniE09F_uniE083
timeSig3Denominator
uniE09F_uniE084
timeSig4Denominator
uniE09F_uniE085
timeSig5Denominator
uniE09F_uniE086
timeSig6Denominator
uniE09F_uniE087
timeSig7Denominator
69
uniE09E_uniE080
timeSig0Numerator
Time signature 0 (numerator)
uniE09E_uniE081
timeSig1Numerator
uniE09E_uniE082
timeSig2Numerator
uniE09E_uniE083
timeSig3Numerator
uniE09E_uniE084
timeSig4Numerator
uniE09E_uniE085
timeSig5Numerator
uniE09E_uniE086
timeSig6Numerator
uniE09E_uniE087
timeSig7Numerator
uniE09F_uniE088
timeSig8Denominator
uniE09F_uniE089
timeSig9Denominator
uniE09E_uniE082_uniE09F_uniE084
timeSig2over4
2/4 time signature
timeSig3over2
3/2 time signature
timeSig3over8
3/8 time signature
timeSig5over4
5/4 time signature
timeSig6over4
6/4 time signature
timeSig7over8
7/8 time signature
uniE09E_uniE081_uniE09E_uniE082_uniE09F_uniE088
timeSig12over8
12/8 time signature
70
uniE09E_uniE088
timeSig8Numerator
uniE09E_uniE089
timeSig9Numerator
timeSig2over2
2/2 time signature
timeSig3over4
3/4 time signature
timeSig4over4
4/4 time signature
timeSig5over8
5/8 time signature
timeSig6over8
6/8 time signature
timeSig9over8
9/8 time signature
timeSigCombNumerator and timeSigCombDenominator are control characters
designed to be combined with the time signature digits (by way of glyph substitution,
such as OpenType ligatures) to shift them vertically into position suitable for drawing
as the numerator and denominator of a time signature. These control characters are
intended for fonts to be used in text-based applications, since scoring applications
should position the numerator and denominator of time signatures independently.
71
Noteheads (U+E0A0U+E0FF)
Noteheads (U+E0A0 U+E0FF)
U+E0A0
noteheadDoubleWhole
Double whole (breve) notehead
U+E0A2
noteheadWhole
Whole (semibreve) notehead
U+E0A4 (and U+1D158)
noteheadBlack
Black notehead
U+E0A6
noteheadXDoubleWhole
X notehead double whole
U+E0A8
noteheadXHalf
X notehead half
U+E0AA
noteheadXOrnate
Ornate X notehead
U+E0AC
noteheadPlusDoubleWhole
Plus notehead double whole
U+E0AE
noteheadPlusHalf
Plus notehead half
U+E0B0
noteheadCircleXDoubleWhole
Circle X double whole
72
U+E0A1
noteheadDoubleWholeSquare
Double whole (breve) notehead
(square)
noteheadHalf
Half (minim) notehead

noteheadNull
Null notehead
U+E0A7
noteheadXWhole
X notehead whole

noteheadXBlack
X notehead black
U+E0AB
noteheadXOrnateEllipse
Ornate X notehead in ellipse
U+E0AD
noteheadPlusWhole
Plus notehead whole
U+E0AF (and U+1D144)

noteheadPlusBlack
Plus notehead black
U+E0B1
noteheadCircleXWhole
Circle X whole
U+E0B2
noteheadCircleXHalf
Circle X half
U+E0B4
noteheadDoubleWholeWithX
Double whole notehead with X
U+E0B6
noteheadHalfWithX
Half notehead with X
U+E0B8 (and U+1D146)
noteheadSquareWhite
Square notehead white
U+E0BA
noteheadTriangleUpDoubleWhole
Triangle notehead up double whole
U+E0BC
noteheadTriangleUpHalf
Triangle notehead up half
U+E0BE (and U+1D149)
noteheadTriangleUpBlack
Triangle notehead up black
U+E0C0 (and U+1D14B)
noteheadTriangleLeftBlack
Triangle notehead left black
U+E0C2 (and U+1D14D)
noteheadTriangleRightBlack
Triangle notehead right black
73

noteheadCircleX
Circle X notehead
U+E0B5
noteheadWholeWithX
Whole notehead with X
U+E0B7
noteheadVoidWithX
Void notehead with X

noteheadSquareBlack
Square notehead black
U+E0BB
noteheadTriangleUpWhole
Triangle notehead up whole
U+E0BD (and U+1D148)

noteheadTriangleUpWhite
Triangle notehead up white
U+E0BF (and U+1D14A)

noteheadTriangleLeftWhite
Triangle notehead left white
U+E0C1 (and U+1D14C)

noteheadTriangleRightWhite
Triangle notehead right white
U+E0C3
noteheadTriangleDownDoubleWhole
Triangle notehead down double whole
U+E0C4
noteheadTriangleDownWhole
Triangle notehead down whole
U+E0C6 (and U+1D14E)
noteheadTriangleDownWhite
Triangle notehead down white
U+E0C8 (and U+1D150)
noteheadTriangleUpRightWhite
Triangle notehead up right white
U+E0CA (and U+1D152)
noteheadMoonWhite
Moon notehead white
U+E0CC (and U+1D154)
noteheadTriangleRoundDownWhite
Triangle-round notehead down white
U+E0CE (and U+1D156)
noteheadParenthesis
Parenthesis notehead
U+E0D0
noteheadSlashedBlack2
Slashed black notehead (top left to
bottom right)
U+E0D2
noteheadSlashedHalf2
Slashed half notehead (top left to
bottom right)
U+E0D4
noteheadSlashedWhole2
Slashed whole notehead (top left to
bottom right)
74
U+E0C5
noteheadTriangleDownHalf
Triangle notehead down half
U+E0C7 (and U+1D14F)

noteheadTriangleDownBlack
Triangle notehead down black

noteheadTriangleUpRightBlack
Triangle notehead up right black
U+E0CB (and U+1D153)

noteheadMoonBlack
Moon notehead black
U+E0CD (and U+1D155)

noteheadTriangleRoundDownBlack
Triangle-round notehead down black
U+E0CF
noteheadSlashedBlack1
Slashed black notehead (bottom left to
top right)
U+E0D1
noteheadSlashedHalf1
Slashed half notehead (bottom left to
top right)
U+E0D3
noteheadSlashedWhole1
Slashed whole notehead (bottom left to
top right)
U+E0D5
noteheadSlashedDoubleWhole1
Slashed double whole notehead
(bottom left to top right)
U+E0D6
noteheadSlashedDoubleWhole2
Slashed double whole notehead (top
left to bottom right)
U+E0D8
noteheadDiamondWhole
Diamond whole notehead
U+E0DA
noteheadDiamondHalfWide
Diamond half notehead (wide)
U+E0DC
noteheadDiamondBlackWide
Diamond black notehead (wide)
U+E0DE
noteheadDiamondWhiteWide
Diamond white notehead (wide)
U+E0E0
noteheadDiamondWholeOld
Diamond whole notehead (old)
U+E0E2
noteheadDiamondBlackOld
Diamond black notehead (old)
U+E0E4
noteheadCircledBlack
Circled black notehead
U+E0E6
noteheadCircledWhole
Circled whole notehead
75
U+E0D7
noteheadDiamondDoubleWhole
Diamond double whole notehead
U+E0D9
noteheadDiamondHalf
Diamond half notehead
U+E0DB
noteheadDiamondBlack
Diamond black notehead
U+E0DD
noteheadDiamondWhite
Diamond white notehead
U+E0DF
noteheadDiamondDoubleWholeOld
Diamond double whole notehead (old)
U+E0E1
noteheadDiamondHalfOld
Diamond half notehead (old)
U+E0E3
noteheadDiamondHalfFilled
Half-filled diamond notehead
U+E0E5
noteheadCircledHalf
Circled half notehead
U+E0E7
noteheadCircledDoubleWhole
Circled double whole notehead
U+E0E8
noteheadCircledBlackLarge
Black notehead in large circle
U+E0EA
noteheadCircledWholeLarge
Whole notehead in large circle
U+E0EC
noteheadCircledXLarge
Cross notehead in large circle
U+E0EE
noteheadLargeArrowUpWhole
Large arrow up (highest pitch) whole
notehead
U+E0F0
noteheadLargeArrowUpBlack
Large arrow up (highest pitch) black
notehead
U+E0F2
noteheadLargeArrowDownWhole
Large arrow down (lowest pitch) whole
notehead
U+E0F4
noteheadLargeArrowDownBlack
Large arrow down (lowest pitch) black
notehead
U+E0F6
noteheadParenthesisRight
Closing parenthesis
U+E0F8
noteheadHeavyX
Heavy X notehead
76
U+E0E9
noteheadCircledHalfLarge
Half notehead in large circle
U+E0EB
noteheadCircledDoubleWholeLarge
Double whole notehead in large circle
U+E0ED
noteheadLargeArrowUpDoubleWhole
Large arrow up (highest pitch) double
whole notehead
U+E0EF
noteheadLargeArrowUpHalf
Large arrow up (highest pitch) half
notehead
U+E0F1
noteheadLargeArrowDownDoubleWhole
Large arrow down (lowest pitch) double
whole notehead
U+E0F3
noteheadLargeArrowDownHalf
Large arrow down (lowest pitch) half
notehead
U+E0F5
noteheadParenthesisLeft
Opening parenthesis
U+E0F7
noteheadCircleSlash
Circle slash notehead
U+E0F9
noteheadHeavyXHat
Heavy X with hat notehead
U+E0FA
noteheadWholeFilled
Filled whole (semibreve) notehead
U+E0FC
uniE0A0.salt01
U+E0FB
noteheadHalfFilled
Filled half (minim) notehead
noteheadDiamondOpen
Open diamond notehead
noteheadDoubleWholeAlt
Double whole note (breve), single
vertical strokes
uniE0A0.ss05
noteheadDoubleWholeOversized
Double whole note (breve) (oversized)
uniE0A2.ss01
noteheadWholeSmall
Whole notehead (small staff)
uniE0A3.ss01
noteheadHalfSmall
Half (minim) notehead (small staff)
uniE0A4.ss01
noteheadBlackSmall
Black notehead (small staff)
77
uniE0A0.ss01
noteheadDoubleWholeSmall
Double whole note (breve) (small staff)
uniE0A1.ss05
noteheadDoubleWholeSquareOversized
Double whole note (breve) notehead
(square) (oversized)
uniE0A2.ss05
noteheadWholeOversized
Whole notehead (oversized)
uniE0A3.ss05
noteheadHalfOversized
Half (minim) notehead (oversized)
uniE0A4.ss05
noteheadBlackOversized
Black notehead (oversized)
uniE0F5_uniE0A4_uniE0F6
noteheadBlackParens
Parenthesised black notehead
noteheadWholeParens
Parenthesised whole (semibreve)
notehead
noteheadHalfParens
Parenthesised half notehead
noteheadDoubleWholeParens
Parenthesised double whole (breve)
notehead
These noteheads should be combined with stems and flags as necessary to create
complete notes. In text-based applications, per the Unicode Musical Symbols
documentation:
Scoring applications should draw stems using primitives, rather than using stem (i.e.
U+1D165 as shown in the above image 17), so that they can be drawn to the correct
length.
See also the implementation notes for flags.
17
From Chapter 15 Symbols, The Unicode Standard, Version 6.2. Ed. Julie D. Allen et al. Mountain View; The Unicode Consortium,
2012.
78
Slash noteheads (U+E100U+E10F)
Slash noteheads (U+E100 U+E10F)
U+E100
noteheadSlashVerticalEnds
Slash with vertical ends
U+E102
noteheadSlashWhiteWhole
White slash whole
U+E104
noteheadSlashDiamondWhite
Large white diamond
U+E106
noteheadSlashX
Large X notehead
U+E108
noteheadSlashHorizontalEndsMuted
Muted slash with horizontal ends
See the implementation notes for noteheads.
79
U+E101 (and U+1D10D)

noteheadSlashHorizontalEnds
Slash with horizontal ends
U+E103
noteheadSlashWhiteHalf
White slash half
U+E105
noteheadSlashVerticalEndsSmall
Small slash with vertical ends
U+E107
noteheadSlashVerticalEndsMuted
Muted slash with vertical ends
U+E109
noteheadSlashWhiteMuted
Muted white slash
Round and square noteheads (U+E110U+E11F)
Round and square noteheads (U+E110 U+E11F)
U+E110
noteheadRoundBlackLarge
Large round black notehead
U+E112
noteheadRoundWhiteWithDotLarge
Large round white notehead with dot
U+E114
noteheadRoundWhite
Round white notehead
U+E116
noteheadRoundBlackSlashedLarge
Large round black notehead, slashed
U+E118
noteheadRoundBlackSlashed
Round black notehead, slashed
U+E11A
noteheadSquareBlackLarge
Large square black notehead
80
U+E111
noteheadRoundWhiteLarge
Large round white notehead
U+E113
noteheadRoundBlack
Round black notehead
U+E115
noteheadRoundWhiteWithDot
Round white notehead with dot
U+E117
noteheadRoundWhiteSlashedLarge
Large round white notehead, slashed
U+E119
noteheadRoundWhiteSlashed
Round white notehead, slashed
U+E11B
noteheadSquareBlackWhite
Large square white notehead
Note clusters (U+E120U+E14F)
Note clusters (U+E120 U+E14F)
noteheadClusterSquareWhite
Cluster notehead white (square)
U+E122
noteheadClusterRoundWhite
Cluster notehead white (round)
U+E124
noteheadClusterDoubleWhole2nd
Double whole note cluster, 2nd
U+E126
noteheadClusterHalf2nd
Half note cluster, 2nd
U+E128
noteheadClusterDoubleWhole3rd
Double whole note cluster, 3rd
U+E12A
noteheadClusterHalf3rd
Half note cluster, 3rd
U+E12C
noteheadClusterDoubleWholeTop
Combining double whole note cluster,
top
U+E12E
noteheadClusterDoubleWholeBottom
bottom
U+E130
noteheadClusterWholeMiddle
Combining whole note cluster, middle
81

noteheadClusterSquareBlack
Cluster notehead black (square)
U+E123
noteheadClusterRoundBlack
Cluster notehead black (round)
U+E125
noteheadClusterWhole2nd
Whole note cluster, 2nd
U+E127
noteheadClusterQuarter2nd
Quarter note cluster, 2nd
U+E129
noteheadClusterWhole3rd
Whole note cluster, 3rd
U+E12B
noteheadClusterQuarter3rd
Quarter note cluster, 3rd
U+E12D
noteheadClusterDoubleWholeMiddle
middle
U+E12F
noteheadClusterWholeTop
Combining whole note cluster, top
U+E131
noteheadClusterWholeBottom
Combining whole note cluster, bottom
U+E132
noteheadClusterHalfTop
Combining half note cluster, top
U+E134
noteheadClusterHalfBottom
Combining half note cluster, bottom
U+E136
noteheadClusterQuarterMiddle
Combining quarter note cluster, middle
U+E138
noteheadDiamondClusterWhite2nd
White diamond cluster, 2nd
U+E13A
noteheadDiamondClusterWhite3rd
White diamond cluster, 3rd
U+E13C
noteheadDiamondClusterWhiteTop
Combining white diamond cluster, top
U+E13E
noteheadDiamondClusterWhiteBottom
Combining white diamond cluster,
bottom
U+E140
noteheadDiamondClusterBlackMiddle
Combining black diamond cluster,
middle
U+E142
noteheadRectangularClusterBlackTop
Combining black rectangular cluster,
top
82
U+E133
noteheadClusterHalfMiddle
Combining half note cluster, middle
U+E135
noteheadClusterQuarterTop
Combining quarter note cluster, top
U+E137
noteheadClusterQuarterBottom
Combining quarter note cluster,
bottom
U+E139
noteheadDiamondClusterBlack2nd
Black diamond cluster, 2nd
U+E13B
noteheadDiamondClusterBlack3rd
Black diamond cluster, 3rd
U+E13D
noteheadDiamondClusterWhiteMiddle
Combining white diamond cluster,
middle
U+E13F
noteheadDiamondClusterBlackTop
Combining black diamond cluster, top
U+E141
noteheadDiamondClusterBlackBottom
Combining black diamond cluster,
bottom
U+E143
noteheadRectangularClusterBlackMiddle
middle
U+E144
noteheadRectangularClusterBlackBottom
bottom
U+E146
noteheadRectangularClusterWhiteMiddle
Combining white rectangular cluster,
middle
U+E145
noteheadRectangularClusterWhiteTop
top
U+E147
noteheadRectangularClusterWhiteBottom
bottom
Scoring applications should draw simple note clusters (e.g.

noteheadClusterSquareWhite, noteheadClusterRoundBlack) directly using primitives
rather than using these glyphs, so that the clusters can be drawn spanning the correct
interval.
The combining glyphs for note clusters are designed to allow the creation of clusters
of any interval larger than a third, with a scoring application inserting the appropriate
number of middle segments between a single instance of the top and bottom
segments:
The left-hand cluster is a stack (top to bottom) of 1 x noteheadClusterHalfTop, 3 x

noteheadClusterHalfMiddle, 1 x noteheadClusterHalfBottom; the right-hand cluster is
1 x noteheadDiamondClusterBlackTop, 2 x noteheadDiamondClusterBlackMiddle, 1 x
noteheadDiamondClusterBlackBottom.
Clusters for intervals of a second or a third are created using a single glyph, e.g.
noteheadClusterQuarter2nd. These glyphs are registered such that the lowest pitch in
the cluster is centered around y = 0, so to draw correctly, the glyph should be
positioned on the staff position corresponding to the lowest note in the cluster.
See also the implementation notes for noteheads.
83
Note name noteheads (U+E150U+E1AF)
Note name noteheads (U+E150 U+E1AF)
U+E150
noteDoWhole
Do (whole note)
U+E152
noteMiWhole
Mi (whole note)
U+E154
noteSoWhole
So (whole note)
U+E156
noteTiWhole
Ti (whole note)
U+E158
noteDoHalf
Do (half note)
U+E15A
noteMiHalf
Mi (half note)
U+E15C
noteSoHalf
So (half note)
U+E15E
noteTiHalf
Ti (half note)
U+E160
noteDoBlack
Do (black note)
84
U+E151
noteReWhole
Re (whole note)
U+E153
noteFaWhole
Fa (whole note)
U+E155
noteLaWhole
La (whole note)
U+E157
noteSiWhole
Si (whole note)
U+E159
noteReHalf
Re (half note)
U+E15B
noteFaHalf
Fa (half note)
U+E15D
noteLaHalf
La (half note)
U+E15F
noteSiHalf
Si (half note)
U+E161
noteReBlack
Re (black note)
U+E162
noteMiBlack
Mi (black note)
U+E164
noteSoBlack
So (black note)
U+E166
noteTiBlack
Ti (black note)
U+E168
noteAFlatWhole
A flat (whole note)
U+E16A
noteASharpWhole
A sharp (whole note)
U+E16C
noteBWhole
B (whole note)
U+E16E
noteCFlatWhole
C flat (whole note)
U+E170
noteCSharpWhole
C sharp (whole note)
U+E172
noteDWhole
D (whole note)
85
U+E163
noteFaBlack
Fa (black note)
U+E165
noteLaBlack
La (black note)
U+E167
noteSiBlack
Si (black note)
U+E169
noteAWhole
A (whole note)
U+E16B
noteBFlatWhole
B flat (whole note)
U+E16D
noteBSharpWhole
B sharp (whole note)
U+E16F
noteCWhole
C (whole note)
U+E171
noteDFlatWhole
D flat (whole note)
U+E173
noteDSharpWhole
D sharp (whole note)
U+E174
noteEFlatWhole
E flat (whole note)
U+E176
noteESharpWhole
E sharp (whole note)
U+E178
noteFWhole
F (whole note)
U+E17A
noteGFlatWhole
G flat (whole note)
U+E17C
noteGSharpWhole
G sharp (whole note)
U+E17E
noteHSharpWhole
H sharp (whole note)
U+E180
noteAHalf
A (half note)
U+E182
noteBFlatHalf
B flat (half note)
U+E184
noteBSharpHalf
B sharp (half note)
86
U+E175
noteEWhole
E (whole note)
U+E177
noteFFlatWhole
F flat (whole note)
U+E179
noteFSharpWhole
F sharp (whole note)
U+E17B
noteGWhole
G (whole note)
U+E17D
noteHWhole
H (whole note)
U+E17F
noteAFlatHalf
A flat (half note)
U+E181
noteASharpHalf
A sharp (half note)
U+E183
noteBHalf
B (half note)
U+E185
noteCFlatHalf
C flat (half note)
U+E186
noteCHalf
C (half note)
U+E188
noteDFlatHalf
D flat (half note)
U+E18A
noteDSharpHalf
D sharp (half note)
U+E18C
noteEHalf
E (half note)
U+E18E
noteFFlatHalf
F flat (half note)
U+E190
noteFSharpHalf
F sharp (half note)
U+E192
noteGHalf
G (half note)
U+E194
noteHHalf
H (half note)
U+E196
noteAFlatBlack
A flat (black note)
87
U+E187
noteCSharpHalf
C sharp (half note)
U+E189
noteDHalf
D (half note)
U+E18B
noteEFlatHalf
E flat (half note)
U+E18D
noteESharpHalf
E sharp (half note)
U+E18F
noteFHalf
F (half note)
U+E191
noteGFlatHalf
G flat (half note)
U+E193
noteGSharpHalf
G sharp (half note)
U+E195
noteHSharpHalf
H sharp (half note)
U+E197
noteABlack
A (black note)
U+E198
noteASharpBlack
A sharp (black note)
U+E19A
noteBBlack
B (black note)
U+E19C
noteCFlatBlack
C flat (black note)
U+E19E
noteCSharpBlack
C sharp (black note)
U+E1A0
noteDBlack
D (black note)
U+E1A2
noteEFlatBlack
E flat (black note)
U+E1A4
noteESharpBlack
E sharp (black note)
U+E1A6
noteFBlack
F (black note)
U+E1A8
noteGFlatBlack
G flat (black note)
88
U+E199
noteBFlatBlack
B flat (black note)
U+E19B
noteBSharpBlack
B sharp (black note)
U+E19D
noteCBlack
C (black note)
U+E19F
noteDFlatBlack
D flat (black note)
U+E1A1
noteDSharpBlack
D sharp (black note)
U+E1A3
noteEBlack
E (black note)
U+E1A5
noteFFlatBlack
F flat (black note)
U+E1A7
noteFSharpBlack
F sharp (black note)
U+E1A9
noteGBlack
G (black note)
U+E1AA
noteGSharpBlack
G sharp (black note)
U+E1AC
noteHSharpBlack
H sharp (black note)
U+E1AE
noteEmptyHalf
Empty half note
U+E1AB
noteHBlack
H (black note)
U+E1AD
noteEmptyWhole
Empty whole note
U+E1AF
noteEmptyBlack
Empty black note
These noteheads are designed for use by scoring applications to render music where
the names of notes are shown inside noteheads. For practical use, scoring applications
should provide a means of automatically substituting regular noteheads for the
appropriate note name notehead glyph according to the pitch of each note.
For maximum legibility, stave lines and ledger lines should not be drawn through the
letterforms in these noteheads. Applications should either draw segments of stave
lines and ledger lines to the left and right of the extent of each notehead positioned
on a line, or draw noteEmptyWhole, noteEmptyHalf and noteEmptyBlack as
appropriate in white (or the paper color) on top of the stave or ledger line but behind
the note name notehead.
See also the implementation notes for Noteheads.
89
Shape note noteheads (U+E1B0U+E1CF)
Shape note noteheads (U+E1B0 U+E1CF)
U+E1B0
noteShapeRoundWhite
Round white (4-shape sol; 7-shape so)
U+E1B2
noteShapeSquareWhite
Square white (4-shape la; Aikin 7-shape
la)
U+E1B4
noteShapeTriangleRightWhite
Triangle right white (stem down; 4shape fa; 7-shape fa)
U+E1B6
noteShapeTriangleLeftWhite
Triangle left white (stem up; 4-shape fa;
7-shape fa)
U+E1B8
noteShapeDiamondWhite
Diamond white (4-shape mi; 7-shape
mi)
U+E1BA
noteShapeTriangleUpWhite
Triangle up white (Aikin 7-shape do)
U+E1BC
noteShapeMoonWhite
Moon white (Aikin 7-shape re)
U+E1BE
noteShapeTriangleRoundWhite
Triangle-round white (Aikin 7-shape ti)
U+E1C0
noteShapeKeystoneWhite
Inverted keystone white (Walker 7shape do)
90
U+E1B1
noteShapeRoundBlack
Round black (4-shape sol; 7-shape so)
U+E1B3
noteShapeSquareBlack
Square black (4-shape la; Aikin 7-shape
la)
U+E1B5
noteShapeTriangleRightBlack
Triangle right black (stem down; 4shape fa; 7-shape fa)
U+E1B7
noteShapeTriangleLeftBlack
Triangle left black (stem up; 4-shape fa;
7-shape fa)
U+E1B9
noteShapeDiamondBlack
Diamond black (4-shape mi; 7-shape
mi)
U+E1BB
noteShapeTriangleUpBlack
Triangle up black (Aikin 7-shape do)
U+E1BD
noteShapeMoonBlack
Moon black (Aikin 7-shape re)
U+E1BF
noteShapeTriangleRoundBlack
Triangle-round black (Aikin 7-shape ti)
U+E1C1
noteShapeKeystoneBlack
Inverted keystone black (Walker 7shape do)
U+E1C2
noteShapeQuarterMoonWhite
Quarter moon white (Walker 7-shape
re)
U+E1C4
noteShapeIsoscelesTriangleWhite
Isosceles triangle white (Walker 7shape ti)
U+E1C6
noteShapeMoonLeftWhite
Moon left white (Funk 7-shape do)
U+E1C8
noteShapeArrowheadLeftWhite
Arrowhead left white (Funk 7-shape re)
U+E1CA
noteShapeTriangleRoundLeftWhite
Triangle-round left white (Funk 7-shape
ti)
91
U+E1C3
noteShapeQuarterMoonBlack
Quarter moon black (Walker 7-shape
re)
U+E1C5
noteShapeIsoscelesTriangleBlack
Isosceles triangle black (Walker 7shape ti)
U+E1C7
noteShapeMoonLeftBlack
Moon left black (Funk 7-shape do)
U+E1C9
noteShapeArrowheadLeftBlack
Arrowhead left black (Funk 7-shape re)
U+E1CB
noteShapeTriangleRoundLeftBlack
Triangle-round left black (Funk 7-shape
ti)
A number of different shape note traditions remain in common use in the shape note
community. SMuFL encodes the noteheads required for four such systems: one fourshape system; and three seven-shape systems (Walker, Funk, and Aikin). All three
seven-shape systems also use the four shapes of the four-shape system, each
introducing three additional shapes.
The four-shape system, used in books such as William Walkers Southern Harmony
(1835), uses a form of solmization where the syllables fa, so, la, fa, so, la, mi are
assigned to the seven notes of an ascending major scale. Each syllable has its own
note shape:
Syllable
Half notes and longer
Quarter notes and shorter
fa (or faw)
Stem down: noteShapeTriangleRightWhite
Stem down: noteShapeTriangleRightBlack
Stem up: noteShapeTriangleLeftWhite
Stem up: noteShapeTriangleLeftBlack
so (or sol)
noteShapeRoundWhite
noteShapeRoundBlack
la (or law)
mi
Joseph Funk devised his seven-shape system, building upon the existing four-shape
system, for his book Harmonia Sacra (1851), adding to the four-shape system by
adding the syllables do, re and ti (sometimes si), so the ascending major scale would
use the syllables do, re, mi, fa, so, la, ti. The note shapes for each syllable are as
follows:
Syllable
do
noteShapeMoonLeftWhite
noteShapeMoonLeftBlack
re
noteShapeArrowheadLeftWhite
noteShapeArrowheadLeftBlack
mi
fa (or faw)
so (or sol)
noteShapeRoundWhite
noteShapeRoundBlack
la (or law)
ti (or si)
noteShapeTriangleRoundLeftWhite
noteShapeTriangleRoundLeftBlack
In addition to being the composer of Southern Harmony, William Walker also later
devised his own seven-shape system for the book Christian Harmony (1867), using the
same solmization as Funk. The note shapes for each syllable are as follows:
Syllable
do
noteShapeKeystoneWhite
noteShapeKeystoneBlack
92
re
noteShapeQuarterMoonWhite
noteShapeQuarterMoonBlack
mi
fa (or faw)
so (or sol)
noteShapeRoundWhite
noteShapeRoundBlack
la (or law)
ti (or si)
noteShapeIsoscelesTriangleWhite
noteShapeIsoscelesTriangleBlack
Perhaps the most commonly-used seven-shape system, however, is that devised by

Jesse B. Aikin, though his system is sometimes incorrectly referred to as the Aiken
system due to an error made by the musicologist George Pullen Jackson. Aikin
introduced his system in The Christian Minstrel (1846), and after his shapes were
adopted by the influential Ruebush & Kieffer Publishing Company in the late 19th
century they have become increasingly widely used. Again using the same solmization
as both Funk and Walker, the note shapes for each syllable are as follows:
Syllable
do
noteShapeTriangleUpWhite
noteShapeTriangleUpBlack
re
noteShapeMoonWhite
noteShapeMoonBlack
mi
fa (or faw)
so (or sol)
noteShapeRoundWhite
noteShapeRoundBlack
la (or law)
ti (or si)
noteShapeTriangleRoundWhite
noteShapeTriangleRoundBlack
For practical use, scoring applications should provide a means of automatically

substituting regular noteheads for the appropriate shape note notehead glyph
according to the pitch of each note.
See also the implementation notes for noteheads.
93
Individual notes (U+E1D0U+E1EF)
Individual notes (U+E1D0 U+E1EF)
U+E1D0 (and U+1D15C)
noteDoubleWhole
Double whole note (breve)
U+E1D2 (and U+1D15D)
noteWhole
Whole note (semibreve)
U+E1D4
noteHalfDown
Half note (minim) stem down
U+E1D6
noteQuarterDown
Quarter note (crotchet) stem down
U+E1D8
note8thDown
Eighth note (quaver) stem down
U+E1DA
note16thDown
16th note (semiquaver) stem down
U+E1DC
note32ndDown
32nd note (demisemiquaver) stem down
U+E1DE
note64thDown
64th note (hemidemisemiquaver) stem
down
U+E1E0
note128thDown
128th note (semihemidemisemiquaver)
stem down
94
U+E1D1
noteDoubleWholeSquare
Double whole note (square)
U+E1D3 (and U+1D15E)

noteHalfUp
Half note (minim) stem up
U+E1D5 (and U+1D15F)

noteQuarterUp
Quarter note (crotchet) stem up
U+E1D7 (and U+1D160)

note8thUp
Eighth note (quaver) stem up

note16thUp
16th note (semiquaver) stem up
U+E1DB (and U+1D162)

note32ndUp
32nd note (demisemiquaver) stem up
U+E1DD (and U+1D163)

note64thUp
64th note (hemidemisemiquaver) stem up
U+E1DF (and U+1D164)

note128thUp
stem up
U+E1E1
note256thUp
256th note
(demisemihemidemisemiquaver) stem up
Individual notes (U+E1D0U+E1EF)
U+E1E2
note256thDown
256th note
(demisemihemidemisemiquaver) stem
down
U+E1E4
note512thDown
512th note
(hemidemisemihemidemisemiquaver)
stem down
U+E1E6
note1024thDown
1024th note
(semihemidemisemihemidemisemiquaver)
stem down
U+E1E3
note512thUp
512th note
stem up
U+E1E5
note1024thUp
1024th note
stem up
U+E1E7 (and U+1D16D)
augmentationDot
Augmentation dot
uniE1D0.salt01
noteDoubleWholeAlt
Double whole note (breve), single
vertical strokes
Precomposed notes in this range may be used for placing notes on a staff. In fonts
intended for text-based applications, these characters may be set up as ligatures with
the control characters in the Combining staff positions range to allow them to be
moved up and down to different positions on a staff (e.g. using characters from the
Staves range).
However, scoring applications should draw all notes by combining notehead glyphs
e.g. noteheadBlack for quarter notes (crotchets) and shorter notes, noteheadHalf
for half notes (minims) with stems drawn using primitives.
It is recommended that the characters in this range should have full-length stems, i.e. a
minimum length of 3.5 spaces.
Characters suitable for mixing with characters from a regular text font, e.g. as part of a
metronome mark, tempo equations, listesso tempo marking, etc., are found in the
Metronome marks range (where it is recommended that stems should be shortened
to provide a more pleasing balance between the note and the surrounding text
characters).
95
Beamed groups of notes (U+E1F0U+E20F)
Beamed groups of notes (U+E1F0 U+E20F)
U+E1F0
textBlackNoteShortStem
Black note, short stem
U+E1F2
textBlackNoteFrac8thShortStem
Black note, fractional 8th beam, short
stem
U+E1F4
Black note, fractional 16th beam, short
stem
U+E1F6
textBlackNoteFrac32ndLongStem
Black note, fractional 32nd beam, long
stem
U+E1F8
textCont8thBeamLongStem
Continuing 8th beam for long stem
U+E1FA
textCont16thBeamLongStem
Continuing 16th beam for long stem
U+E1FC
textAugmentationDot
Augmentation dot
U+E1FE
textTupletBracketStartShortStem
Tuplet bracket start for short stem
U+E200
textTupletBracketEndShortStem
Tuplet bracket end for short stem
96
U+E1F1
textBlackNoteLongStem
Black note, long stem
U+E1F3
textBlackNoteFrac8thLongStem
Black note, fractional 8th beam, long
stem
U+E1F5
textBlackNoteFrac16thLongStem
Black note, fractional 16th beam, long
stem
U+E1F7
textCont8thBeamShortStem
Continuing 8th beam for short stem
U+E1F9
textCont16thBeamShortStem
Continuing 16th beam for short stem
U+E1FB
textCont32ndBeamLongStem
Continuing 32nd beam for long stem
U+E1FD
textTie
Tie
U+E1FF
textTuplet3ShortStem
Tuplet number 3 for short stem
U+E201
textTupletBracketStartLongStem
Tuplet bracket start for long stem
Beamed groups of notes (U+E1F0U+E20F)
U+E202
textTuplet3LongStem
Tuplet number 3 for long stem
U+E203
textTupletBracketEndLongStem
Tuplet bracket end for long stem
This range is most useful in fonts intended for text-based applications, with metrics
that are compatible for mixing musical symbols with text.
In such a font, these glyphs may be used for displaying complex metric modulations
and listesso tempo directions in conjunction with the precomposed note glyphs in the
Individual notes range.
Kerning pairs for every combination of these glyphs should be included such that the
fractional beams overlap slightly with the stems of notes and other beams; this helps
provide a consistent appearance in a variety of rendering contexts and at different
zoom levels. Special attention should be given to the kerning pairs including
textAugmentationDot, which should be kerned rightwards away from notes and
leftwards so that it lies underneath glyphs showing the middle of beams (e.g.
textCont8thBeamShortStem); and to the pairs involving the tuplet brackets (e.g.
textTupletBracketStartShortStem), which should be kerned leftwards such that they
are correctly aligned when entered after a note character.
By way of example:
textBlackNoteShortStem, textCont8thBeamShortStem,
textBlackNoteFrac8thShortStem, textCont16thBeamShortStem,
textBlackNoteFrac8thShortStem, space, =, space,
textBlackNoteShortStem, textTupletBracketStartLongStem,
textTuplet3LongStem, note8thUp,
textTupletBracketEndLongStem
textAugmentationDot, textCont8thBeamShortStem,
97
Stems (U+E210U+E21F)
Stems (U+E210 U+E21F)
U+E210 (and U+1D165)
stem
Combining stem
U+E212
stemSwished
Combining swished stem
U+E214
stemSulPonticello
Combining sul ponticello (bow behind
bridge) stem
U+E216
stemBowOnTailpiece
Combining bow on tailpiece stem
U+E218
stemDamp
Combining damp stem
U+E21A
stemMultiphonicsBlack
Combining multiphonics (black) stem
U+E21C
stemMultiphonicsBlackWhite
Combining multiphonics (black and
white) stem
U+E21E
stemRimShot
Combining rim shot stem
U+E211 (and U+1D166)

stemSprechgesang
Combining sprechgesang stem
U+E213
stemPendereckiTremolo
Combining Penderecki unmeasured
tremolo stem
U+E215
stemBowOnBridge
Combining bow on bridge stem
U+E217
stemBuzzRoll
Combining buzz roll stem
U+E219
stemVibratoPulse
Combining vibrato pulse accent
(Saunders) stem
U+E21B
stemMultiphonicsWhite
Combining multiphonics (white) stem
U+E21D
stemSussurando
Combining sussurando stem
U+E21F
stemHarpStringNoise
Combining harp string noise stem
The glyphs shown here may be combined with noteheads to produce precomposed
glyphs with a fixed stem length.
98
Stems (U+E210U+E21F)
Scoring applications should produce this effect by imposing the required symbol on a
stem drawn using a primitive line, rather than using these precomposed stem glyphs:
Sprechgesang (vocalSprechgesang)
Swish (pictSwish)
Penderecki unmeasured tremolo (pendereckiTremolo)
Sul ponticello (stringsBowBehindBridge)
Bow on bridge (stringsBowOnBridge)
Bow on tailpiece (stringsBowOnTailpiece)
Buzz roll (buzzRoll)
Damp (pluckedDampOnStem)
Vibrato pulse accent (stringsVibratoPulse)
Multiphonics (windMultiphonicsBlackStem, windMultiphonicsWhiteStem,

windMultiphonicsBlackWhiteStem)
Sussurando (vocalsSussurando)
Rim shot (pictRimShotOnStem)
Harp string noise (harpStringNoiseStem)
99
Tremolos (U+E220U+E23F)
Tremolos (U+E220 U+E23F)
U+E220 (and U+1D167)
tremolo1
Combining tremolo 1
U+E222 (and U+1D169)
tremolo3
Combining tremolo 3
U+E224
tremolo5
Combining tremolo 5
tremoloFingered2
Fingered tremolo 2
U+E228
tremoloFingered4
Fingered tremolo 4
U+E22A
buzzRoll
Buzz roll
U+E22C
unmeasuredTremolo
Wieniawski unmeasured tremolo
U+E22E
tremoloDivisiDots2
Divide measured tremolo by 2
U+E230
tremoloDivisiDots4
100
U+E221 (and U+1D168)

tremolo2
Combining tremolo 2
U+E223
tremolo4
Combining tremolo 4

tremoloFingered1
Fingered tremolo 1

tremoloFingered3
Fingered tremolo 3
U+E229
tremoloFingered5
Fingered tremolo 5
U+E22B
pendereckiTremolo
Penderecki unmeasured tremolo
U+E22D
unmeasuredTremoloSimple
Wieniawski unmeasured tremolo
(simpler)
U+E22F
tremoloDivisiDots3
U+E231
tremoloDivisiDots6
Tremolos (U+E220U+E23F)
Scoring applications may simply use multiple instances of tremolo1 imposed on note
stems to draw one-note tremolos with different numbers of slashes.
The fingered tremolo glyphs are for two-note tremolos. Scoring applications should
draw two-note tremolos using the same primitives used for drawing beams, rather
than using these glyphs.
101
Flags (U+E240U+E25F)
Flags (U+E240 U+E25F)
flag8thUp
Combining flag 1 (8th) above
flag16thUp
U+E244 (and U+1D170)
flag32ndUp
Combining flag 3 (32nd) above
U+E246 (and U+1D171)
flag64thUp
U+E248 (and U+1D172)
flag128thUp
U+E24A
flag256thUp
U+E24C
flag512thUp
U+E24E
flag1024thUp
U+E250
flagInternalUp
Internal combining flag above
102
U+E241
flag8thDown
Combining flag 1 (8th) below
U+E243
flag16thDown
U+E245
flag32ndDown
Combining flag 3 (32nd) below
U+E247
flag64thDown
U+E249
flag128thDown
U+E24B
flag256thDown
U+E24D
flag512thDown
U+E24F
flag1024thDown
U+E251
flagInternalDown
Internal combining flag below
uniE240.ss03
flag8thUpStraight
Combining flag 1 (8th) above (straight)
uniE240.salt03
flag8thUpSmall
Combining flag 1 (8th) above (small
staff)
uniE241.salt02
flag8thDownSmall
Combining flag 1 (8th) below (small
staff)
uniE242.ss02
flag16thUpShort
Combining flag 2 (16th) above (short)
uniE243.ss03
flag16thDownStraight
(straight)
uniE244.ss03
flag32ndUpStraight
Combining flag 3 (32nd) above
(straight)
uniE244.salt03
flag32ndUpSmall
Combining flag 3 (32nd) above (small
staff)
uniE245.salt02
flag32ndDownSmall
Combining flag 3 (32nd) below (small
staff)
uniE246.ss02
flag64thUpShort
103
uniE240.ss02
flag8thUpShort
uniE241.ss03
flag8thDownStraight
Combining flag 1 (8th) below (straight)
uniE242.ss03
flag16thUpStraight
(straight)
uniE242.salt03
flag16thUpSmall
staff)
uniE243.salt02
flag16thDownSmall
staff)
uniE244.ss02
flag32ndUpShort
Combining flag 3 (32nd) above (short)
uniE245.ss03
flag32ndDownStraight
Combining flag 3 (32nd) below
(straight)
uniE246.ss03
flag64thUpStraight
(straight)
uniE246.salt03
flag64thUpSmall
staff)
uniE247.ss03
(straight)
uniE248.ss03
flag128thUpStraight
(straight)
uniE248.salt03
flag128thUpSmall
staff)
uniE249.salt02
flag128thDownSmall
staff)
uniE24A.ss02
flag256thUpShort
uniE24B.ss03
(straight)
uniE24C.ss03
flag512thUpStraight
(straight)
uniE24C.salt03
flag512thUpSmall
staff)
uniE24D.salt02
flag512thDownSmall
staff)
104
uniE247.salt02
flag64thDownSmall
staff)
uniE248.ss02
flag128thUpShort
uniE249.ss03
(straight)
uniE24A.ss03
flag256thUpStraight
(straight)
uniE24A.salt03
flag256thUpSmall
staff)
uniE24B.salt02
flag256thDownSmall
staff)
uniE24C.ss02
flag512thUpShort
uniE24D.ss03
(straight)
uniE24E.ss03
flag1024thUpStraight
(straight)
uniE24E.ss02
flag1024thUpShort
(short)
uniE24F.ss03
(straight)
uniE24E.salt03
flag1024thUpSmall
staff)
uniE24F.salt02
flag1024thDownSmall
staff)
Scoring applications may create groups of flags for notes shorter than 16th notes
(semiquavers) by combining flag16thUp with the required number of flagInternalUp
for stem up notes, or flag16thDown with the required number of flagInternalDown for
stem down notes, stacking flagInternalUp above or flagInternalDown below
respectively, ensuring even spacing.
The set of stylistic alternates for shorter flags may be substituted by a scoring
application in the case of a dotted note with an upward stem, to avoid collisions
between the augmentation dot and the flag.
105
Standard accidentals (12-EDO) (U+E260U+E26F)
Standard accidentals (12-EDO) (U+E260 U+E26F)
U+E260 (and 266D)
accidentalFlat
Flat
U+E262 (and 266F)
accidentalSharp
Sharp
accidentalDoubleFlat
Double flat
U+E266
accidentalTripleFlat
Triple flat
U+E268
accidentalNaturalSharp
Natural sharp
U+E26A
uniE260.ss01
accidentalParensLeft
Accidental parenthesis, left
accidentalFlatSmall
Flat (for small staves)
uniE262.ss01
Sharp (for small staves)
106
accidentalNatural
Natural

accidentalDoubleSharp
Double sharp
U+E265
accidentalTripleSharp
Triple sharp
U+E267
accidentalNaturalFlat
Natural flat
U+E269
accidentalSharpSharp
Sharp sharp
U+E26B
uniE261.ss01
accidentalSharpSmall
U+E261 (and 266E)
accidentalParensRight
Accidental parenthesis, right
accidentalNaturalSmall
Natural (for small staves)
uniE264.salt01
accidentalDoubleFlatJoinedStems
Double flat (joined stems)
Standard accidentals (12-EDO) (U+E260U+E26F)
uniE266.salt01
accidentalTripleFlatJoinedStems
Triple flat (joined stems)
uniE26A_uniE260_uniE26B
accidentalFlatParens
Parenthesised flat
accidentalSharpParens
Parenthesised sharp
accidentalNaturalParens
Parenthesised natural
accidentalDoubleSharpParens
Parenthesised double sharp
accidentalDoubleFlatParens
Parenthesised double flat
Scoring applications may choose to substitute stylistic alternate versions of the
common accidentals glyphs for a better appearance on smaller staves.
107
Gould arrow quartertone accidentals (24-EDO) (U+E270U+E27F)
Gould arrow quartertone accidentals (24-EDO)

(U+E270 U+E27F)
accidentalQuarterToneFlatArrowUp
Quarter-tone flat
accidentalQuarterToneSharpNaturalArrowUp
Quarter-tone sharp
U+E274 (and U+1D130)
accidentalThreeQuarterTonesSharpArrowUp
Three-quarter-tones sharp
U+E276
accidentalFiveQuarterTonesSharpArrowUp
Five-quarter-tones sharp
U+E278
accidentalThreeQuarterTonesFlatArrowUp
Three-quarter-tones flat
U+E27A
accidentalArrowUp
Arrow up (raise by one quarter-tone)
108

accidentalThreeQuarterTonesFlatArrowDown
Three-quarter-tones flat

accidentalQuarterToneFlatNaturalArrowDown
Quarter-tone flat
U+E275 (and U+1D131)

accidentalQuarterToneSharpArrowDown
Quarter-tone sharp
U+E277
accidentalThreeQuarterTonesSharpArrowDown
Three-quarter-tones sharp
U+E279
accidentalFiveQuarterTonesFlatArrowDown
Five-quarter-tones flat
U+E27B
accidentalArrowDown
Arrow down (lower by one quartertone)
Stein-Zimmermann accidentals (24-EDO) (U+E280U+E28F)
Stein-Zimmermann accidentals (24-EDO)

(U+E280 U+E28F)
U+E280
accidentalQuarterToneFlatStein
Reversed flat (quarter-tone flat) (Stein)
U+E282
accidentalQuarterToneSharpStein
Half sharp (quarter-tone sharp) (Stein)
U+E284
accidentalNarrowReversedFlat
Narrow reversed flat(quarter-tone flat)
109
U+E281
accidentalThreeQuarterTonesFlatZimmermann
Reversed flat and flat (three-quartertones flat) (Zimmermann)
U+E283
accidentalThreeQuarterTonesSharpStein
One and a half sharps (three-quartertones sharp) (Stein)
U+E285
accidentalNarrowReversedFlatAndFlat
Narrow reversed flat and flat(threequarter-tones flat)
Extended Stein-Zimmermann accidentals (U+E290U+E29F)
Extended Stein-Zimmermann accidentals

(U+E290 U+E29F)
U+E290
accidentalReversedFlatArrowUp
Reversed flat with arrow up
U+E292
accidentalFilledReversedFlatArrowUp
Filled reversed flat with arrow up
U+E294
accidentalReversedFlatAndFlatArrowUp
Reversed flat and flat with arrow up
U+E296
accidentalFilledReversedFlatAndFlat
Filled reversed flat and flat
U+E298
accidentalFilledReversedFlatAndFlatArrowDown
Filled reversed flat and flat with arrow
down
U+E29A
accidentalHalfSharpArrowDown
Half sharp with arrow down
U+E29C
accidentalOneAndAHalfSharpsArrowDown
One and a half sharps with arrow down
110
U+E291
accidentalReversedFlatArrowDown
Reversed flat with arrow down
U+E293
accidentalFilledReversedFlatArrowDown
Filled reversed flat with arrow down
U+E295
accidentalReversedFlatAndFlatArrowDown
Reversed flat and flat with arrow down
U+E297
accidentalFilledReversedFlatAndFlatArrowUp
Filled reversed flat and flat with arrow
up
U+E299
accidentalHalfSharpArrowUp
Half sharp with arrow up
U+E29B
accidentalOneAndAHalfSharpsArrowUp
One and a half sharps with arrow up
Extended Stein-Zimmermann accidentals (U+E290U+E29F)
These accidentals were not actually proposed by Richard Stein or Bernd Zimmermann,
but are instead logical extensions of their symbols adding arrows to provide options
for notating slight pitch modifications 18.
18
Gould, ibid., page 96 acknowledges the Stein-Zimmermann accidentals as the most commonly-used symbols with fixed meanings;
however, the extensions provided here do not have fixed meanings.
111
Sims accidentals (72-EDO) (U+E2A0U+E2AF)
Sims accidentals (72-EDO) (U+E2A0 U+E2AF)
U+E2A0
accidentalSims12Down
1/12 tone low
U+E2A2
accidentalSims4Down
1/4 tone low
U+E2A4
accidentalSims6Up
1/6 tone high
U+E2A1
accidentalSims6Down
1/6 tone low
U+E2A3
accidentalSims12Up
1/12 tone high
U+E2A5
accidentalSims4Up
1/4 tone high
These glyphs may be used alone and to the left of the standard 12-EDO accidentals.
112
Johnston accidentals (just intonation) (U+E2B0U+E2BF)
Johnston accidentals (just intonation) (U+E2B0

U+E2BF)
U+E2B0
accidentalJohnstonPlus
Plus (raise by 81:80)
U+E2B2
accidentalJohnstonEl
Inverted seven (raise by 36:35)
U+E2B4
accidentalJohnstonUp
Up arrow (raise by 33:32)
U+E2B6
uniE262_uniE2B2
accidentalJohnston13
Thirteen (raise by 65:64)
accidentalSharpJohnstonEl
Sharp-inverted seven
uniE262_uniE2B5
Sharp-down arrow
uniE260_uniE2B4
Flat-up arrow
uniE2B3_uniE262
Seven-sharp
113
U+E2B3
accidentalJohnstonSeven
Seven (lower by 36:35)
U+E2B5
accidentalJohnstonDown
Down arrow (lower by 33:32)
uniE262_uniE2B4
accidentalJohnstonSevenSharp
Minus (lower by 81:80)
accidentalFlatJohnstonUp
accidentalJohnstonMinus
U+E2B7
accidentalSharpJohnstonDown
U+E2B1
accidentalJohnston31
Inverted 13 (lower by 65:64)
accidentalSharpJohnstonUp
Sharp-up arrow
uniE260_uniE2B2
accidentalFlatJohnstonEl
Flat-inverted seven
uniE260_uniE2B5
accidentalFlatJohnstonDown
Flat-down arrow
uniE2B3_uniE260
accidentalJohnstonSevenFlat
Seven-flat
Johnston accidentals (just intonation) (U+E2B0U+E2BF)
uniE2B3_uniE2B4
accidentalJohnstonSevenUp
Seven-up arrow
uniE2B4_uniE2B2
accidentalJohnstonUpEl
Up arrow-inverted seven
uniE262_uniE2B4_uniE2B2
accidentalSharpJohnstonUpEl
Sharp-up arrow-inverted seven
uniE2B3_uniE262_uniE2B4
accidentalJohnstonSevenSharpUp
Seven-sharp-up arrow
accidentalFlatJohnstonUpEl
Flat-up arrow-inverted seven
accidentalJohnstonSevenFlatUp
Seven-flat-up arrow
uniE2B3_uniE2B5
accidentalJohnstonSevenDown
Seven-down arrow
uniE2B5_uniE2B2
accidentalJohnstonDownEl
Down arrow-inverted seven
accidentalSharpJohnstonDownEl
Sharp-down arrow-inverted seven
accidentalJohnstonSevenSharpDown
Seven-sharp-down arrow
accidentalFlatJohnstonElDown
Flat-inverted seven-down arrow
accidentalJohnstonSevenFlatDown
Seven-flat-down arrow
These glyphs are intended for combining with the standard 12-EDO accidentals.
114
Extended Helmholtz-Ellis accidentals (just intonation) (U+E2C0U+E2FF)
Extended Helmholtz-Ellis accidentals (just

intonation) (U+E2C0 U+E2FF)
U+E2C0
accidentalDoubleFlatOneArrowDown
Double flat lowered by one syntonic
comma
U+E2C2
accidentalNaturalOneArrowDown
Natural lowered by one syntonic comma
U+E2C4
accidentalDoubleSharpOneArrowDown
Double sharp lowered by one syntonic
comma
U+E2C6
accidentalFlatOneArrowUp
Flat raised by one syntonic comma
U+E2C8
accidentalSharpOneArrowUp
Sharp raised by one syntonic comma
U+E2CA
accidentalDoubleFlatTwoArrowsDown
Double flat lowered by two syntonic
commas
U+E2CC
accidentalNaturalTwoArrowsDown
Natural lowered by two syntonic
commas
U+E2CE
accidentalDoubleSharpTwoArrowsDown
Double sharp lowered by two syntonic
commas
115
U+E2C1
accidentalFlatOneArrowDown
Flat lowered by one syntonic comma
U+E2C3
accidentalSharpOneArrowDown
Sharp lowered by one syntonic comma
U+E2C5
accidentalDoubleFlatOneArrowUp
Double flat raised by one syntonic
comma
U+E2C7
accidentalNaturalOneArrowUp
Natural raised by one syntonic comma
U+E2C9
accidentalDoubleSharpOneArrowUp
Double sharp raised by one syntonic
comma
U+E2CB
accidentalFlatTwoArrowsDown
Flat lowered by two syntonic commas
U+E2CD
accidentalSharpTwoArrowsDown
Sharp lowered by two syntonic commas
U+E2CF
accidentalDoubleFlatTwoArrowsUp
Double flat raised by two syntonic
commas
U+E2D0
accidentalFlatTwoArrowsUp
Flat raised by two syntonic commas
U+E2D2
accidentalSharpTwoArrowsUp
Sharp raised by two syntonic commas
U+E2D4
accidentalDoubleFlatThreeArrowsDown
Double flat lowered by three syntonic
commas
U+E2D6
accidentalNaturalThreeArrowsDown
Natural lowered by three syntonic
commas
U+E2D8
accidentalDoubleSharpThreeArrowsDown
Double sharp lowered by three syntonic
commas
U+E2DA
accidentalFlatThreeArrowsUp
Flat raised by three syntonic commas
U+E2DC
accidentalSharpThreeArrowsUp
Sharp raised by three syntonic commas
U+E2DE
accidentalLowerOneSeptimalComma
Lower by one septimal comma
U+E2E0
accidentalLowerTwoSeptimalCommas
Lower by two septimal commas
116
U+E2D1
accidentalNaturalTwoArrowsUp
Natural raised by two syntonic commas
U+E2D3
accidentalDoubleSharpTwoArrowsUp
Double sharp raised by two syntonic
commas
U+E2D5
accidentalFlatThreeArrowsDown
Flat lowered by three syntonic commas
U+E2D7
accidentalSharpThreeArrowsDown
Sharp lowered by three syntonic
commas
U+E2D9
accidentalDoubleFlatThreeArrowsUp
Double flat raised by three syntonic
commas
U+E2DB
accidentalNaturalThreeArrowsUp
Natural raised by three syntonic
commas
U+E2DD
accidentalDoubleSharpThreeArrowsUp
Double sharp raised by three syntonic
commas
U+E2DF
accidentalRaiseOneSeptimalComma
Raise by one septimal comma
U+E2E1
accidentalRaiseTwoSeptimalCommas
Raise by two septimal commas
U+E2E2
accidentalLowerOneUndecimalQuartertone
Lower by one undecimal quartertone
U+E2E4
accidentalLowerOneTridecimalQuartertone
Lower by one tridecimal quartertone
U+E2E6
accidentalCombiningLower17Schisma
Combining lower by one 17-limit
schisma
U+E2E8
schisma
U+E2EA
accidentalCombiningLower23Limit29LimitComma
Combining lower by one 23-limit comma
or 29-limit comma
U+E2EC
schisma
U+E2EE
accidentalCombiningOpenCurlyBrace
Combining open curly brace
U+E2F0
accidentalDoubleFlatEqualTempered
Double flat equal tempered semitone
U+E2F2
accidentalNaturalEqualTempered
Natural equal tempered semitone
117
U+E2E3
accidentalRaiseOneUndecimalQuartertone
Raise by one undecimal quartertone
U+E2E5
accidentalRaiseOneTridecimalQuartertone
Raise by one tridecimal quartertone
U+E2E7
accidentalCombiningRaise17Schisma
Combining raise by one 17-limit
schisma
U+E2E9
schisma
U+E2EB
accidentalCombiningRaise23Limit29LimitComma
Combining raise by one 23-limit comma
or 29-limit comma
U+E2ED
schisma
U+E2EF
accidentalCombiningCloseCurlyBrace
Combining close curly brace
U+E2F1
accidentalFlatEqualTempered
Flat equal tempered semitone
U+E2F3
accidentalSharpEqualTempered
Sharp equal tempered semitone
U+E2F4
accidentalDoubleSharpEqualTempered
Double sharp equal tempered semitone
118
Spartan Sagittal single-shaft accidentals (U+E300U+E30F)
Spartan Sagittal single-shaft accidentals

(U+E300 U+E30F)
U+E300
accSagittal5v7KleismaUp
5:7 kleisma up, (5:7k, ~11:13k,
7C less 5C)
U+E302
accSagittal5CommaUp
5 comma up, (5C), 1 up [22 27 29 34
41 46 53 96 EDOs], 1/12-tone up
U+E304
accSagittal7CommaUp
7 comma up, (7C), 1 up [43 EDO], 2
up [72 EDO], 1/6-tone up
U+E306
accSagittal25SmallDiesisUp
25 small diesis up, (25S, ~5:13S, ~37S,
5C plus 5C), 2 up [53 EDO]
U+E308
accSagittal35MediumDiesisUp
35 medium diesis up, (35M, ~13M,
~125M, 5C plus 7C), 2/9-tone up
U+E30A
11 medium diesis up, (11M), 1[17 31]
246 up, 1/4-tone up
U+E30C
accSagittal11LargeDiesisUp
11 large diesis up, (11L), (sharp less
11M), 3 up [46 EDO]
U+E30E
35 large diesis up, (35L, ~13L, ~125L,
sharp less 35M), 250 up
119
U+E301
accSagittal5v7KleismaDown
5:7 kleisma down
U+E303
accSagittal5CommaDown
5 comma down, 1 down [22 27 29 34
41 46 53 96 EDOs], 1/12-tone down
U+E305
7 comma down, 1 down [43 EDO], 2
down [72 EDO], 1/6-tone down
U+E307
accSagittal25SmallDiesisDown
25 small diesis down, 2 down [53
EDO]
U+E309
accSagittal35MediumDiesisDown
35 medium diesis down, 1[50] 2[27]
down, 2/9-tone down
U+E30B
11 medium diesis down, 1[17 31] 246
down, 1/4-tone down
U+E30D
accSagittal11LargeDiesisDown
11 large diesis down, 3 down [46
EDO]
U+E30F
35 large diesis down, 2 down [50
EDO], 5/18-tone down
Spartan Sagittal single-shaft accidentals (U+E300U+E30F)
It is not necessary to implement the complete Sagittal microtonal notation system. The
Spartan set is sufficient to notate 13-limit just intonation (JI), 1/12-tones, 50 common
equal divisions of the octave (EDOs), and their related linear temperaments.
The eight pairs of single-shaft accidentals above are sufficient to provide these
capabilities when used alone, and to the left of the standard accidentalDoubleFlat,
accidentalFlat, accidentalSharp, and the almost-standard
accidentalLargeDoubleSharp. This is called mixed Sagittal.
As an alternative, the following group (the multi-shaft Spartans) provides a complete
set of stand-alone accidentals to replace each of the above combinations of a singleshaft Sagittal with a standard accidental. This is called pure Sagittal. The standard
accidentalNatural is used alone in both mixed and pure variants, but only to cancel a
previous accidental.
Sagittal accidentals are not intended to be combined with one another, inasmuch as
symbols representing useful combinations and powers of primes are already
provided. An accidental can often be used to represent alternative commas that differ
by 2 cents or less. In such cases the intended comma ratio may be determined by the
note to which it is applied, or by the musical context. Alternatively, diacritics (from the
Herculean and subsequent extensions) may be added to distinguish these commas.
Commas which require diacritics for exact representation are preceded by a tilde ~
in the glyph descriptions.
Sagittal extensions following Spartan allow notation of JI ratios with primes beyond 13,
and more combinations of lower primes, as well as finer tone-fractions, degrees of
larger EDOs, and more complex temperaments, all with single Sagittal accidentals.
The same choice of mixed versus pure is available with each extension. See
http://sagittal.org for more information.
Other Sagittal-compatible accidentals are accidentalQuarterToneSharpStein and
accidentalThreeQuarterTonesSharpStein which may be substituted for
accSagittal11MediumDiesisUp and accSagittalSharp11MUp; the
accidentalNarrowReversedFlat and accidentalNarrowReversedFlatAndFlat which may
be substituted for accSagittal11MediumDiesisDown and accSagittalFlat11MDown;
and the accidentalWilsonPlus and accidentalWilsonMinus which may be substituted for
the accSagittal5CommaUp and accSagittal5CommaDown.
120
Spartan Sagittal multi-shaft accidentals (U+E310U+E33F)
Spartan Sagittal multi-shaft accidentals (U+E310

U+E33F)
U+E310
accSagittalSharp25SDown
Sharp 25S-down, 3 up [53 EDO]
U+E312
accSagittalSharp7CDown
Sharp 7C-down, 2 up [43 EDO], 4 up
[72 EDO], 1/3-tone up
U+E314
Sharp 5C-down, 2[22 29] 3[34 41]
4[46 53 60] up, 5/12-tone up
U+E316
accSagittalSharp5v7kDown
Sharp 5:7k-down
U+E318
accSagittalSharp
Sharp, (apotome up)[almost all EDOs],
1/2-tone up
U+E31A
U+E311
accSagittalFlat25SUp
Flat 25S-up, 3 down [53 EDO]
U+E313
accSagittalFlat7CUp
Flat 7C-up, 2 down [43 EDO], 4 down
[72 EDO], 1/3-tone down
U+E315
accSagittalFlat5CUp
Flat 5C-up, 2[22,29] 3[34 41] 4[46 53
60] down, 5/12-tone down
U+E317
accSagittalFlat5v7kUp
Flat 5:7k-up
U+E319
accSagittalFlat
Flat, (apotome down)[almost all EDOs],
1/2-tone down
U+E31B
accSagittalUnused1
accSagittalUnused2
Unused
Unused
U+E31C
U+E31D
accSagittalSharp5v7kUp
Sharp 5:7k-up
U+E31E
accSagittalSharp5CUp
Sharp 5C-up, 4[22 29] 5[27 34 41]
6[39 46 53] up, 7/12-tone up
121
accSagittalFlat5v7kDown
Flat 5:7k-down
U+E31F
accSagittalFlat5CDown
Flat 5C-down, 4[22 29] 5[27 34 41]
6[39 46 53] down, 7/12-tone down
U+E320
Sharp 7C-up, 4 up [43 EDO], 8 up [72
EDO], 2/3-tone up
U+E322
accSagittalSharp25SUp
Sharp 25S-up, 7 up [53 EDO]
U+E324
accSagittalSharp35MUp
Sharp 35M-up, 4 up [50 EDO], 6 up
[27 EDO], 13/18-tone up
U+E326
Sharp 11M-up, 3 up [17 31 EDOs], 7
up [46 EDO], 3/4-tone up
U+E328
accSagittalSharp11LUp
Sharp 11L-up, 8 up [46 EDO]
U+E32A
Sharp 35L-up, 5 up [50 EDO]
U+E32C
accSagittalDoubleSharp25SDown
Double sharp 25S-down, 8up [53
EDO]
U+E32E
accSagittalDoubleSharp7CDown
Double sharp 7C-down, 5[43] 10[72]
up, 5/6-tone up
U+E330
Double sharp 5C-down, 5[22 29] 7[34
41] 953 up, 11/12 tone up
122
U+E321
Flat 7C-down, 4 down [43 EDO], 8
U+E323
accSagittalFlat25SDown
Flat 25S-down, 7 down [53 EDO]
U+E325
accSagittalFlat35MDown
Flat 35M-down, 4 down [50 EDO], 6
U+E327
Flat 11M-down, 3 down [17 31 EDOs],
7 down [46 EDO], 3/4-tone down
U+E329
accSagittalFlat11LDown
Flat 11L-down, 8 up [46 EDO]
U+E32B
Flat 35L-down, 5 down [50 EDO]
U+E32D
accSagittalDoubleFlat25SUp
Double flat 25S-up, 8down [53 EDO]
U+E32F
accSagittalDoubleFlat7CUp
Double flat 7C-up, 5 down [43 EDO],
10 down [72 EDO], 5/6-tone down
U+E331
Double flat 5C-up, 5[22 29] 7[34 41]
953 down, 11/12 tone down
U+E332
accSagittalDoubleSharp5v7kDown
Double sharp 5:7k-down
U+E334
accSagittalDoubleSharp
Double sharp, (2 apotomes up)[almost
all EDOs], whole-tone up
123
U+E333
accSagittalDoubleFlat5v7kUp
Double flat 5:7k-up
U+E335
accSagittalDoubleFlat
Double flat, (2 apotomes down)[almost
all EDOs], whole-tone down
Athenian Sagittal extension (medium precision) accidentals (U+E340U+E36F)
Athenian Sagittal extension (medium precision)

accidentals (U+E340 U+E36F)
U+E340
accSagittal7v11KleismaUp
7:11 kleisma up, (7:11k, ~29k)
U+E342
accSagittal17CommaUp
17 comma up, (17C)
U+E344
55 comma up, (55C, 11M less 5C), 3up
[96 EDO], 3/16-tone up
U+E346
accSagittal7v11CommaUp
7:11 comma up, (7:11C, ~13:17S,
~29S, 11L less 7C), 1 up [60 EDO]
U+E348
accSagittal5v11SmallDiesisUp
5:11 small diesis up, (5:11S, ~7:13S,
~11:17S, 5:7k plus 7:11C)
U+E34A
accSagittalSharp5v11SDown
Sharp 5:11S-down
U+E34C
accSagittalSharp7v11CDown
Sharp 7:11C-down, 4 up [60 EDO],
2/5-tone up
U+E34E
Sharp 55C-down, 5 up [96 EDO], 5/16tone up
124
U+E341
accSagittal7v11KleismaDown
7:11 kleisma down
U+E343
17 comma down
U+E345
55 comma down, 3 down [96 EDO],
3/16-tone down
U+E347
accSagittal7v11CommaDown
7:11 comma down, 1 down [60 EDO],
1/10-tone down
U+E349
accSagittal5v11SmallDiesisDown
5:11 small diesis down
U+E34B
accSagittalFlat5v11SUp
Flat 5:11S-up
U+E34D
accSagittalFlat7v11CUp
Flat 7:11C-up, 4 down [60 EDO], 2/5tone down
U+E34F
accSagittalFlat55CUp
Flat 55C-up, 5 down [96 EDO], 5/16tone down
U+E350
Sharp 17C-down
U+E352
accSagittalSharp7v11kDown
Sharp 7:11k-down
U+E354
accSagittalSharp7v11kUp
Sharp 7:11k-up
U+E356
Sharp 17C-up
U+E358
Sharp 55C-up, 11 up [96 EDO], 11/16tone up
U+E35A
accSagittalSharp7v11CUp
Sharp 7:11C-up, 6 up [60 EDO], 3/5tone up
U+E35C
accSagittalSharp5v11SUp
Sharp 5:11S-up
U+E35E
accSagittalDoubleSharp5v11SDown
Double sharp 5:11S-down
U+E360
accSagittalDoubleSharp7v11CDown
Double sharp 7:11C-down, 9 up [60
EDO], 9/10-tone up
125
U+E351
Flat 17C-up
U+E353
accSagittalFlat7v11kUp
Flat 7:11k-up
U+E355
accSagittalFlat7v11kDown
Flat 7:11k-down
U+E357
Flat 17C-down
U+E359
Flat 55C-down, 11 down [96 EDO],
11/16-tone down
U+E35B
accSagittalFlat7v11CDown
Flat 7:11C-down, 6 down [60 EDO],
3/5- tone down
U+E35D
accSagittalFlat5v11SDown
Flat 5:11S-down
U+E35F
accSagittalDoubleFlat5v11SUp
Double flat 5:11S-up
U+E361
accSagittalDoubleFlat7v11CUp
Double flat 7:11C-up, 9 down [60
U+E362
Double sharp 55C-down, 13 up [96
EDO], 13/16-tone up
U+E364
Double sharp 17C-down
U+E366
accSagittalDoubleSharp7v11kDown
Double sharp 7:11k-down
126
U+E363
Double flat 55C-up, 13 down [96
U+E365
Double flat 17C-up
U+E367
accSagittalDoubleFlat7v11kUp
Double flat 7:11k-up
Trojan Sagittal extension (12-EDO relative) accidentals (U+E370U+E38F)
Trojan Sagittal extension (12-EDO relative)

accidentals (U+E370 U+E38F)
U+E370
23 comma up, (23C), 2 up [96 EDO],
1/8-tone up
U+E372
5:19 comma up, (5:19C, 5C plus 19s),
1/20-tone up
U+E374
accSagittal5v23SmallDiesisUp
5:23 small diesis up, (5:23S, 5C plus
23C), 2 up [60 EDO], 1/5-tone up
U+E376
accSagittalSharp5v23SDown
Sharp 5:23S-down, 3 up [60 EDO],
3/10-tone up
U+E378
Sharp 5:19C-down, 9/20-tone up
U+E37A
Sharp 23C-down, 6 up [96 EDO], 3/8tone up
U+E37C
Sharp 23C-up, 10 up [96 EDO], 5/8tone up
U+E37E
Sharp 5:19C-up, 11/20-tone up
127
U+E371
23 comma down, 2 down [96 EDO],
1/8-tone down
U+E373
5:19 comma down, 1/20-tone down
U+E375
accSagittal5v23SmallDiesisDown
5:23 small diesis down, 2 down [60
EDO], 1/5-tone down
U+E377
accSagittalFlat5v23SUp
Flat 5:23S-up, 3 down [60 EDO], 3/10tone down
U+E379
Flat 5:19C-up, 9/20-tone down
U+E37B
Flat 23C-up, 6 down [96 EDO], 3/8tone down
U+E37D
Flat 23C-down, 10 down [96 EDO],
5/8-tone down
U+E37F
Flat 5:19C-down, 11/20-tone down
Trojan Sagittal extension (12-EDO relative) accidentals (U+E370U+E38F)
U+E380
accSagittalSharp5v23SUp
Sharp 5:23S-up, 7 up [60 EDO], 7/10tone up
U+E382
accSagittalDoubleSharp5v23SDown
Double sharp 5:23S-down, 8 up [60
EDO], 4/5-tone up
U+E384
Double sharp 5:19C-down, 19/20-tone
up
U+E386
Double sharp 23C-down, 14up [96
EDO], 7/8-tone up
U+E381
accSagittalFlat5v23SDown
Flat 5:23S-down, 7 down [60 EDO],
7/10-tone down
U+E383
accSagittalDoubleFlat5v23SUp
Double flat 5:23S-up, 8 down [60
EDO], 4/5-tone down
U+E385
Double flat 5:19C-up, 19/20-tone down
U+E387
Double flat 23C-up, 14 down [96
EDO], 7/8-tone down
The Trojan (or tone-fraction) set is not strictly-speaking an extension of Athenian, as

there are a few Athenians (including Spartans) that are not Trojan. Those are the
glyphs whose descriptions include 5:7k, 7:11k, 5:11S, 25S or 11L and do not
include a tone-fraction.
The descriptions below the Sagittal glyphs do not include all possible uses, only a
selection of the most common. To determine which of these glyphs to use for tonefractions not listed here (as well as for JI ratios and degrees of EDOs that are not listed
here) please see http://sagittal.org.
128
Promethean Sagittal extension (high precision) single-shaft accidentals (U+E390U+E3AF)
Promethean Sagittal extension (high precision)

single-shaft accidentals (U+E390 U+E3AF)
U+E390
accSagittal19SchismaUp
19 schisma up, (19s)
U+E392
accSagittal17KleismaUp
17 kleisma up, (17k)
U+E394
143 comma up, (143C, 13L less 11M)
U+E396
11:49 comma up, (11:49C, 11M less
49C)
U+E398
19 comma up, (19C)
U+E39A
7:19 comma up, (7:19C, 7C less 19s)
U+E39C
49 small diesis up, (49S, ~31S)
U+E39E
23 small diesis up, (23S)
129
U+E391
accSagittal19SchismaDown
19 schisma down
U+E393
accSagittal17KleismaDown
17 kleisma down
U+E395
143 comma down
U+E397
11:49 comma down
U+E399
19 comma down
U+E39B
7:19 comma down
U+E39D
49 small diesis down
U+E39F
23 small diesis down
Promethean Sagittal extension (high precision) single-shaft accidentals (U+E390U+E3AF)
U+E3A0
accSagittal5v13MediumDiesisUp
5:13 medium diesis up, (5:13M, ~37M,
5C plus 13C)
U+E3A2
11:19 medium diesis up, (11:19M, 11M
plus 19s)
U+E3A4
49 medium diesis up, (49M, ~31M, 7C
plus 7C)
U+E3A6
5:49 medium diesis up, (5:49M, half
apotome)
U+E3A8
49 large diesis up, (49L, ~31L, apotome
less 49M)
U+E3AA
accSagittal11v19LargeDiesisUp
11:19 large diesis up, (11:19L, apotome
less 11:19M)
U+E3AC
accSagittal5v13LargeDiesisUp
5:13 large diesis up, (5:13L, ~37L,
apotome less 5:13M)
130
U+E3A1
accSagittal5v13MediumDiesisDown
5:13 medium diesis down
U+E3A3
U+E3A5
49 medium diesis down
U+E3A7
U+E3A9
49 large diesis down
U+E3AB
accSagittal11v19LargeDiesisDown
11:19 large diesis down
U+E3AD
accSagittal5v13LargeDiesisDown
5:13 large diesis down
Promethean Sagittal extension (high precision) multi-shaft accidentals (U+E3B0U+E3EF)
Promethean Sagittal extension (high precision)

multi-shaft accidentals (U+E3B0 U+E3EF)
U+E3B0
Sharp 23S-down
U+E3B2
Sharp 49S-down
U+E3B4
Sharp 7:19C-down
U+E3B6
Sharp 19C-down
U+E3B8
Sharp 11:49C-down
U+E3BA
Sharp 143C-down
U+E3BC
accSagittalSharp17kDown
Sharp 17k-down
U+E3BE
accSagittalSharp19sDown
Sharp 19s-down
131
U+E3B1
Flat 23S-up
U+E3B3
Flat 49S-up
U+E3B5
Flat 7:19C-up
U+E3B7
Flat 19C-up
U+E3B9
Flat 11:49C-up
U+E3BB
Flat 143C-up
U+E3BD
accSagittalFlat17kUp
Flat 17k-up
U+E3BF
accSagittalFlat19sUp
Flat 19s-up
U+E3C0
accSagittalSharp19sUp
Sharp 19s-up
U+E3C2
accSagittalSharp17kUp
Sharp 17k-up
U+E3C4
Sharp 143C-up
U+E3C6
Sharp 11:49C-up
U+E3C8
Sharp 19C-up
U+E3CA
Sharp 7:19C-up
U+E3CC
Sharp 49S-up
U+E3CE
Sharp 23S-up
U+E3D0
accSagittalSharp5v13MUp
Sharp 5:13M-up
132
U+E3C1
accSagittalFlat19sDown
Flat 19s-down
U+E3C3
accSagittalFlat17kDown
Flat 17k-down
U+E3C5
Flat 143C-down
U+E3C7
Flat 11:49C-down
U+E3C9
Flat 19C-down
U+E3CB
Flat 7:19C-down
U+E3CD
Flat 49S-down
U+E3CF
Flat 23S-down
U+E3D1
accSagittalFlat5v13MDown
Flat 5:13M-down
U+E3D2
Sharp 11:19M-up
U+E3D4
Sharp 49M-up
U+E3D6
Sharp 5:49M-up, (one and a half
apotomes)
U+E3D8
Sharp 49L-up
U+E3DA
accSagittalSharp11v19LUp
Sharp 11:19L-up
U+E3DC
accSagittalSharp5v13LUp
Sharp 5:13L-up
U+E3DE
U+E3D3
Flat 11:19M-down
U+E3D5
Flat 49M-down
U+E3D7
Flat 5:49M-down
U+E3D9
Flat 49L-down
U+E3DB
accSagittalFlat11v19LDown
Flat 11:19L-down
U+E3DD
accSagittalFlat5v13LDown
Flat 5:13L-down
U+E3DF
accSagittalUnused3
accSagittalUnused4
Unused
Unused
U+E3E0
U+E3E1
Double sharp 23S-down
U+E3E2
Double sharp 49S-down
133
Double flat 23S-up
U+E3E3
Double flat 49S-up
U+E3E4
Double sharp 7:19C-down
U+E3E6
U+E3E8
Double sharp 11:49C-down
U+E3EA
U+E3EC
accSagittalDoubleSharp17kDown
Double sharp 17k-down
U+E3EE
accSagittalDoubleSharp19sDown
Double sharp 19s-down
134
U+E3E5
Double flat 7:19C-up
U+E3E7
Double flat 19C-up
U+E3E9
Double flat 11:49C-up
U+E3EB
Double flat 143C-up
U+E3ED
accSagittalDoubleFlat17kUp
Double flat 17k-up
U+E3EF
accSagittalDoubleFlat19sUp
Double flat 19s-up
Herculean Sagittal extension (very high precision) accidental diacritics (U+E3F0U+E3FF)
Herculean Sagittal extension (very high precision)

accidental diacritics (U+E3F0 U+E3FF)
U+E3F0
accSagittalShaftUp
Shaft up, (natural for use with only
diacritics up)
U+E3F2
accSagittalAcute
Acute, 5 schisma up (5s), 2 cents up
U+E3F1
accSagittalShaftDown
Shaft down, (natural for use with only
diacritics down)
U+E3F3
accSagittalGrave
Grave, 5 schisma down, 2 cents down
Sagittal diacritics are placed to the left of Sagittal accidentals if required; at most one
diacritic from each group. If there are multiple diacritics, those representing the larger
alteration are placed closer to the accidental. If diacritics are directly altering the
natural note, they should be placed to the left of, but not touching, one of the bareshaft glyphs (accSagittalShaftUp or accSagittalShaftDown); whichever one represents
the direction of the sum of the diacritic alterations.
135
Olympian Sagittal extension (extreme precision) accidental diacritics (U+E400U+E40F)
Olympian Sagittal extension (extreme precision)

accidental diacritics (U+E400 U+E40F)
Reserved for future use.
This range is reserved for the future definition of four glyphs, representing alterations
of one and two 455 or 65:77 schisminas. These schisminas are approximately 0.4
cents.
136
Magrathean Sagittal extension (insane precision) accidental diacritics (U+E410U+E41F)
Magrathean Sagittal extension (insane precision)

accidental diacritics (U+E410 U+E41F)
Reserved for future use.
This range is reserved for the future definition of 38 glyphs, representing alterations of
a half to nine-and-a-half tinas. A tina is approximately 0.14 cents.
137
Wyschnegradsky accidentals (72-EDO) (U+E420U+E43F)
Wyschnegradsky accidentals (72-EDO) (U+E420

U+E43F)
U+E420
accidentalWyschnegradsky1TwelfthsSharp
1/12 tone sharp
U+E422
1/4 tone sharp
U+E424
5/12 tone sharp
U+E426
7/12 tone sharp
U+E428
3/4 tone sharp
U+E42A
11/12 tone sharp
U+E42C
accidentalWyschnegradsky2TwelfthsFlat
1/6 tone flat
U+E42E
1/3 tone flat
138
U+E421
1/6 tone sharp
U+E423
1/3 tone sharp
U+E425
1/2 tone sharp
U+E427
2/3 tone sharp
U+E429
5/6 tone sharp
U+E42B
1/12 tone flat
U+E42D
1/4 tone flat
U+E42F
5/12 tone flat
Wyschnegradsky accidentals (72-EDO) (U+E420U+E43F)
U+E430
1/2 tone flat
U+E432
2/3 tone flat
U+E434
5/6 tone flat
139
U+E431
7/12 tone flat
U+E433
3/4 tone flat
U+E435
11/12 tone flat
Arel-Ezgi-Uzdilek (AEU) accidentals (U+E440U+E44F)
Arel-Ezgi-Uzdilek (AEU) accidentals (U+E440

U+E44F)
U+E440
accidentalBuyukMucennebFlat
Byk mcenneb (flat)
U+E442
accidentalBakiyeFlat
Bakiye (flat)
U+E444
accidentalKomaSharp
Koma (sharp)
U+E446
accidentalKucukMucennebSharp
Kk mcenneb (sharp)
140
U+E441
accidentalKucukMucennebFlat
Kk mcenneb (flat)
U+E443
accidentalKomaFlat
Koma (flat)
U+E445
accidentalBakiyeSharp
Bakiye (sharp)
U+E447
accidentalBuyukMucennebSharp
Byk mcenneb (sharp)
Turkish folk music accidentals (U+E450U+E45F)
Turkish folk music accidentals (U+E450 U+E45F)
U+E450
accidental1CommaSharp
1-comma sharp
U+E452
3-comma sharp
U+E454
accidental1CommaFlat
1-comma flat
U+E456
3-comma flat
141
U+E451
2-comma sharp
U+E453
5-comma sharp
U+E455
2-comma flat
U+E457
4-comma flat
Persian accidentals (U+E460U+E46F)
Persian accidentals (U+E460 U+E46F)
U+E460
accidentalKoron
Koron (quarter tone flat)
142
U+E461
accidentalSori
Sori (quarter tone sharp)
Other accidentals (U+E470U+E49F)
Other accidentals (U+E470 U+E49F)
U+E470
accidentalXenakisOneThirdToneSharp
One-third-tone sharp (Xenakis)
U+E472
accidentalQuarterToneSharpBusotti
Quarter tone sharp (Bussotti)
U+E474
accidentalThreeQuarterTonesSharpBusotti
Three quarter tones sharp (Bussotti)
U+E476
accidentalTavenerSharp
Byzantine-style Buyuk mucenneb sharp
(Tavener)
U+E478
accidentalQuarterToneFlatPenderecki
Quarter tone flat (Penderecki)
U+E47A
accidentalCommaSlashDown
Syntonic/Didymus comma (80:81)
down (Bosanquet)
U+E47C
accidentalWilsonMinus
Wilson minus (5 comma down)
U+E47E (and U+1D132)
accidentalQuarterToneSharp4
Quarter-tone sharp
U+E480
accidentalQuarterToneFlatFilledReversed
Filled reversed flat (quarter-tone flat)
143
U+E471
accidentalXenakisTwoThirdTonesSharp
Two-third-tones sharp (Xenakis)
U+E473
accidentalSharpOneHorizontalStroke
One or three quarter tones sharp
U+E475
accidentalQuarterToneSharpWiggle
Quarter tone sharp with wiggly tail
U+E477
accidentalTavenerFlat
Byzantine-style Bakiye flat (Tavener)
U+E479
accidentalCommaSlashUp
Syntonic/Didymus comma (80:81) up
(Bosanquet)
U+E47B
accidentalWilsonPlus
Wilson plus (5 comma up)
U+E47D
accidentalLargeDoubleSharp
Large double sharp
U+E47F (and U+1D133)

accidentalQuarterToneFlat4
Quarter-tone flat
U+E481
accidentalSharpReversed
Reversed sharp
Other accidentals (U+E470U+E49F)
U+E482
accidentalNaturalReversed
Reversed natural
U+E484
accidentalFlatTurned
Turned flat
U+E486
accidentalThreeQuarterTonesFlatGrisey
Three-quarter-tones flat (Grisey)
U+E488
accidentalQuarterToneFlatVanBlankenburg
Quarter-tone flat (van Blankenburg)
U+E48A
accidentalOneThirdToneSharpFerneyhough
One-third-tone sharp (Ferneyhough)
U+E48C
accidentalTwoThirdTonesSharpFerneyhough
Two-third-tones sharp (Ferneyhough)
144
U+E483
accidentalDoubleFlatReversed
Reversed double flat
U+E485
accidentalDoubleFlatTurned
Turned double flat
U+E487
accidentalThreeQuarterTonesFlatTartini
Three-quarter-tones flat (Tartini)
U+E489
accidentalThreeQuarterTonesFlatCouper
Three-quarter-tones flat (Couper)
U+E48B
accidentalOneThirdToneFlatFerneyhough
One-third-tone flat (Ferneyhough)
U+E48D
accidentalTwoThirdTonesFlatFerneyhough
Two-third-tones flat (Ferneyhough)
Articulation (U+E4A0U+E4BF)
Articulation (U+E4A0 U+E4BF)
U+E4A0 (and U+1D17B)
articAccentAbove
Accent above
U+E4A2 (and U+1D17C)
articStaccatoAbove
Staccato above
U+E4A4 (and U+1D17D)
articTenutoAbove
Tenuto above
U+E4A6 (and U+1D17E)
articStaccatissimoAbove
Staccatissimo above
U+E4A8
articStaccatissimoWedgeAbove
Staccatissimo wedge above
U+E4AA
articStaccatissimoStrokeAbove
Staccatissimo stroke above
U+E4AC (and U+1D17F)
articMarcatoAbove
Marcato above
U+E4AE (and U+1D180)
articMarcatoStaccatoAbove
Marcato-staccato above
articAccentStaccatoAbove
Accent-staccato above
145
U+E4A1
articAccentBelow
Accent below
U+E4A3
articStaccatoBelow
Staccato below
U+E4A5
articTenutoBelow
Tenuto below
U+E4A7
articStaccatissimoBelow
Staccatissimo below
U+E4A9
articStaccatissimoWedgeBelow
Staccatissimo wedge below
U+E4AB
articStaccatissimoStrokeBelow
Staccatissimo stroke below
U+E4AD
articMarcatoBelow
Marcato below
U+E4AF
articMarcatoStaccatoBelow
Marcato-staccato below
U+E4B1
articAccentStaccatoBelow
Accent-staccato below
articTenutoStaccatoAbove
Lour (tenuto-staccato) above
U+E4B4
articTenutoAccentAbove
Tenuto-accent above
U+E4B6
articStressAbove
Stress above
U+E4B8
articUnstressAbove
Unstress above
U+E4BA
articLaissezVibrerAbove
Laissez vibrer (l.v.) above
U+E4BC
uniE4A0.salt01
articMarcatoTenutoAbove
Marcato-tenuto above
articAccentAboveLarge
Large accent above
uniE4A1.salt01
Large accent below
uniE4A2.ss01
Staccato above (small staff)
146
Lour (tenuto-staccato) below
U+E4B5
articTenutoAccentBelow
Tenuto-accent below
U+E4B7
articStressBelow
Stress below
U+E4B9
articUnstressBelow
Unstress below
U+E4BB
articLaissezVibrerBelow
Laissez vibrer (l.v.) below
uniE4A0.ss01
articStaccatoAboveSmall
articTenutoStaccatoBelow
U+E4BD
articAccentBelowLarge
U+E4B3
articMarcatoTenutoBelow
Marcato-tenuto below
articAccentAboveSmall
Accent above (small staff)
uniE4A1.ss01
articAccentBelowSmall
Accent below (small staff)
uniE4A3.ss01
articStaccatoBelowSmall
Staccato below (small staff)
uniE4A4.ss01
articTenutoAboveSmall
Tenuto above (small staff)
uniE4A6.ss01
articStaccatissimoAboveSmall
Staccatissimo above (small staff)
uniE4A8.ss01
articStaccatissimoWedgeAboveSmall
Staccatissimo wedge above (small staff)
uniE4AA.ss01
articStaccatissimoStrokeAboveSmall
Staccatissimo stroke above (small staff)
uniE4AC.ss01
articMarcatoAboveSmall
Marcato above (small staff)
uniE4AE.ss01
articMarcatoStaccatoAboveSmall
Marcato-staccato above (small staff)
uniE4B0.ss01
articAccentStaccatoAboveSmall
Accent-staccato above (small staff)
uniE4B2.ss01
articTenutoStaccatoAboveSmall
Lour (tenuto-staccato) above (small
staff)
uniE4B4.ss01
articTenutoAccentAboveSmall
Tenuto-accent above (small staff)
147
uniE4A5.ss01
articTenutoBelowSmall
Tenuto below (small staff)
uniE4A7.ss01
articStaccatissimoBelowSmall
Staccatissimo below (small staff)
uniE4A9.ss01
articStaccatissimoWedgeBelowSmall
Staccatissimo wedge below (small staff)
uniE4AB.ss01
articStaccatissimoStrokeBelowSmall
Staccatissimo stroke below (small staff)
uniE4AD.ss01
articMarcatoBelowSmall
Marcato below (small staff)
uniE4AF.ss01
articMarcatoStaccatoBelowSmall
Marcato-staccato below (small staff)
uniE4B1.ss01
articAccentStaccatoBelowSmall
Accent-staccato below (small staff)
uniE4B3.ss01
articTenutoStaccatoBelowSmall
Lour (tenuto-staccato) below (small
staff)
uniE4B5.ss01
articTenutoAccentBelowSmall
Tenuto-accent below (small staff)
Holds and pauses (U+E4C0U+E4DF)
Holds and pauses (U+E4C0 U+E4DF)
fermataAbove
Fermata above
U+E4C2
fermataVeryShortAbove
Very short fermata above
U+E4C4
fermataShortAbove
Short fermata above
U+E4C6
fermataLongAbove
Long fermata above
U+E4C8
fermataVeryLongAbove
Very long fermata above
U+E4CA
fermataLongHenzeAbove
Long fermata (Henze) above
U+E4CC
fermataShortHenzeAbove
Short fermata (Henze) above
U+E4CE (and U+1D112)
breathMarkComma
Breath mark (comma)
U+E4D0
breathMarkUpbow
Breath mark (upbow-like)
148

fermataBelow
Fermata below
U+E4C3
fermataVeryShortBelow
Very short fermata below
U+E4C5
fermataShortBelow
Short fermata below
U+E4C7
fermataLongBelow
Long fermata below
U+E4C9
fermataVeryLongBelow
Very long fermata below
U+E4CB
fermataLongHenzeBelow
Long fermata (Henze) below
U+E4CD
fermataShortHenzeBelow
Short fermata (Henze) below
U+E4CF
breathMarkTick
Breath mark (tick-like)

caesura
Caesura
Holds and pauses (U+E4C0U+E4DF)
U+E4D2
caesuraThick
Thick caesura
U+E4D4
caesuraCurved
Curved caesura
U+E4D6
curlewSign
Curlew (Britten)
uniE4D1.salt01
caesuraSingleStroke
Caesura (single stroke)
149
U+E4D3
caesuraShort
Short caesura
U+E4D5
breathMarkSalzedo
Breath mark (Salzedo)
Rests (U+E4E0U+E4FF)
Rests (U+E4E0 U+E4FF)
U+E4E0
restMaxima
Maxima rest
U+E4E2 (and U+1D13A)
restDoubleWhole
Double whole (breve) rest
U+E4E4 (and U+1D13C)
restHalf
Half (minim) rest
U+E4E6 (and U+1D13E)
rest8th
Eighth (quaver) rest
U+E4E8 (and U+1D140)
rest32nd
32nd (demisemiquaver) rest
U+E4EA (and U+1D142)
rest128th
128th (semihemidemisemiquaver) rest
U+E4EC
rest512th
512th rest
U+E4EE (and U+1D129)
restHBar
Multiple measure rest
U+E4F0
restHBarMiddle
H-bar, middle
150
U+E4E1
restLonga
Longa rest
U+E4E3 (and U+1D13B)

restWhole
Whole (semibreve) rest
U+E4E5 (and U+1D13D)

restQuarter
Quarter (crotchet) rest
U+E4E7 (and U+1D13F)

rest16th
16th (semiquaver) rest

rest64th
64th (hemidemisemiquaver) rest
U+E4EB
rest256th
256th rest
U+E4ED
rest1024th
1024th rest
U+E4EF
restHBarLeft
H-bar, left half
U+E4F1
restHBarRight
H-bar, right half
Rests (U+E4E0U+E4FF)
U+E4F2
restQuarterOld
Old-style quarter (crotchet) rest
U+E4F4
restWholeLegerLine
Whole rest on leger line
U+E4F6
U+E4F3
restDoubleWholeLegerLine
Double whole rest on leger lines
U+E4F5
restHalfLegerLine
Half rest on leger line
restQuarterZ
Z-style quarter (crotchet) rest
Scoring applications should draw multiple measure rests using primitives to provide
variable width and line thickness rather than using restHBar.
Old style multiple measure rests can be created by laying out restLonga (four bars),
restDoubleWhole (two bars) and restWhole (one bar) next to each other.
For dotted rests, the augmentation dot glyph augmentationDot should be used.
151
Bar repeats (U+E500U+E50F)
Bar repeats (U+E500 U+E50F)
repeat1Bar
Repeat last bar
U+E502
repeat4Bars
Repeat last four bars
152

repeat2Bars
Repeat last two bars
Octaves (U+E510U+E51F)
Octaves (U+E510 U+E51F)
U+E510
ottava
Ottava
U+E512 (and U+1D137)
ottavaBassa
Ottava bassa
U+E514
quindicesima
Quindicesima
U+E516 (and U+1D139)
quindicesimaBassa
Quindicesima bassa
U+E518
ventiduesimaAlta
Ventiduesima alta
U+E51A
octaveParensLeft
Left parenthesis for octave signs
U+E51C
ottavaBassaVb
Ottava bassa (8vb)
U+E51E
ventiduesimaBassaMb
Ventiduesima bassa (mb)
153
U+E511 (and U+1D136)

ottavaAlta
Ottava alta
U+E513
ottavaBassaBa
Ottava bassa (ba)
U+E515 (and U+1D138)

quindicesimaAlta
Quindicesima alta
U+E517
ventiduesima
Ventiduesima
U+E519
ventiduesimaBassa
Ventiduesima bassa
U+E51B
octaveParensRight
Right parenthesis for octave signs
U+E51D
quindicesimaBassaMb
Quindicesima bassa (mb)
U+E51F
octaveBassa
Bassa
Octaves (U+E510U+E51F)
These glyphs are for use in octave markings, sometimes called ottava lines.
8 (ottava), 15 (quindicesima), and 22 (ventiduesima) may be used to indicate the
raising or lowering of pitch by one, two, or three octaves respectively; the position of
these glyphs relative to a dashed line with hook, and the placement relative to the staff
(above to raise, below to lower), indicates whether or not the pitch is raised or
lowered.
To more explicitly indicate raising the pitch by one, two, or three octaves, the glyphs
with superscript suffixes 8va (ottavaAlta), 15ma (quindicesimaAlta), 22ma
(ventiduesimaAlta) may be used.
To explicitly indicate lowering the pitch by one, two, or three octaves, the glyphs with
baseline suffixes 8va (ottavaBassaBase), 15ma (quindicesimaBassaBase), 22ma
(ventiduesimaBassaBase) may be used, optionally with the additional indication
bassa (octaveBassa).
In the case where an octave marking applies to only some of the notes on a given staff,
the indication loco (octaveLoco), meaning with the octave, is sometimes also used.
(This glyph is found in the Octaves supplement range.)
When an octave line crosses a system or page break, the octave marking is repeated
at the start of the new system, and may optionally be enclosed within parentheses,
which are provided as octaveParensLeft and octaveParensRight.
The 8vb (ottavaBassaVb), 15mb (quindicesimaBassaMb) and 22mb
(ventiduesimaBassaMb) glyphs are included because they are sometimes used, but
they are corruptions of the more correct forms 8va bassa, 15ma bassa, and 22ma
bassa. 8va is short for ottava, 15ma is short for quindicesima, and 22ma is short for
ventiduesima; as such, it is nonsensical to replace the suffix va with vb, or ma with
mb. The recommended abbreviation for 8va bassa is 8ba (ottavaBassaBa), which is
included.
154
Dynamics (U+E520U+E54F)
Dynamics (U+E520 U+E54F)
dynamicPiano
Piano
U+E522 (and U+1D191)
dynamicForte
Forte
dynamicSforzando
Sforzando
U+E526
dynamicNiente
Niente
U+E528
dynamicPPPPP
ppppp
U+E52A
dynamicPPP
ppp
U+E52C
dynamicMP
mp
U+E52E
dynamicPF
pf
U+E530
dynamicFFF
fff
155
U+E521 (and U+1D190)

dynamicMezzo
Mezzo

dynamicRinforzando
Rinforzando

dynamicZ
Z
U+E527
dynamicPPPPPP
pppppp
U+E529
dynamicPPPP
pppp
U+E52B
dynamicPP
pp
U+E52D
dynamicMF
mf
U+E52F
dynamicFF
ff
U+E531
dynamicFFFF
ffff
U+E532
dynamicFFFFF
fffff
U+E534
dynamicFortePiano
Forte-piano
U+E536
dynamicSforzando1
Sforzando 1
U+E538
dynamicSforzandoPianissimo
Sforzando-pianissimo
U+E53A
dynamicSforzatoPiano
Sforzato-piano
U+E53C
dynamicRinforzando1
Rinforzando 1
U+E53E (and U+1D192)
dynamicCrescendoHairpin
Crescendo
U+E540
dynamicMessaDiVoce
Messa di voce
uniE520.ss01
dynamicPianoSmall
Piano (small staff)
156
U+E533
dynamicFFFFFF
ffffff
U+E535
dynamicForzando
Forzando
U+E537
dynamicSforzandoPiano
Sforzando-piano
U+E539
dynamicSforzato
Sforzato
U+E53B
dynamicSforzatoFF
Sforzatissimo
U+E53D
dynamicRinforzando2
Rinforzando 2
U+E53F (and U+1D193)

dynamicDiminuendoHairpin
Diminuendo
U+E541
dynamicNienteForHairpin
Niente (for hairpins)
uniE521.ss01
dynamicMezzoSmall
Mezzo (small staff)
uniE522.ss01
dynamicForteSmall
Forte (small staff)
uniE524.ss01
dynamicSforzandoSmall
Sforzando (small staff)
uniE526.ss01
uniE523.ss01
dynamicRinforzandoSmall
Rinforzando (small staff)
uniE525.ss01
dynamicZSmall
Z (small staff)
dynamicNienteSmall
Niente (small staff)
Scoring applications should draw crescendo and diminuendo hairpins using primitives
rather than dynamicCrescendoHairpin and dynamicDiminuendoHairpin in order to
provide variable width, line thickness, angle and aperture.
Ligatures should be defined for common combinations of dynamics, such as .
Special attention should be paid to kerning pairs for these glyphs.
x dynamicForte for ) or using the pre-composed glyph (e.g. 1 x dynamicFFF for
Scoring applications may choose to draw dynamics either using multiple glyphs (e.g. 3
).
157
Lyrics (U+E550U+E55F)
Lyrics (U+E550 U+E55F)
U+E550
lyricsElisionNarrow
Narrow elision
U+E552
lyricsElisionWide
Wide elision
U+E554
lyricsHyphenBaselineNonBreaking
Non-breaking baseline hyphen
158
U+E551
lyricsElision
Elision
U+E553
lyricsHyphenBaseline
Baseline hyphen
Common ornaments (U+E560U+E56F)
Common ornaments (U+E560 U+E56F)
U+E560 (and U+1D194)
graceNoteAcciaccaturaStemUp
Slashed grace note stem up
U+E562 (and U+1D195)
graceNoteAppoggiaturaStemUp
Grace note stem up
U+E564
graceNoteSlashStemUp
Slash for stem up grace note
U+E566 (and U+1D196)
ornamentTrill
Trill
U+E568 (and U+1D198)
ornamentTurnInverted
Inverted turn
U+E56A (and U+1D19A)
ornamentTurnUp
Turn up
U+E56C
ornamentMordent
Mordent
U+E56E
ornamentTremblement
Tremblement
159
U+E561
graceNoteAcciaccaturaStemDown
Slashed grace note stem down
U+E563
graceNoteAppoggiaturaStemDown
Grace note stem down
U+E565
graceNoteSlashStemDown
Slash for stem down grace note
U+E567 (and U+1D197)

ornamentTurn
Turn
U+E569 (and U+1D199)

ornamentTurnSlash
Turn with slash
U+E56B
ornamentTurnUpS
Inverted turn up
U+E56D
ornamentMordentInverted
Inverted mordent
U+E56F
ornamentHaydn
Haydn ornament
Common ornaments (U+E560U+E56F)
uniE260_uniE566
ornamentTrillFlatAbove
Trill, flat above
uniE262_uniE566
ornamentTrillSharpAbove
Trill, sharp above
ornamentTurnFlatAboveSharpBelow
Turn, flat above, sharp below
uniE261_uniE567
ornamentTurnNaturalAbove
Turn, natural above
uniE262_uniE567
ornamentTurnSharpAbove
Turn, sharp above
uniE567_uniE262
uniE261_uniE566
ornamentTrillNaturalAbove
Trill, natural above
uniE260_uniE567
ornamentTurnFlatAbove
Turn, flat above
uniE567_uniE260
ornamentTurnFlatBelow
Turn, flat below
uniE567_uniE261
ornamentTurnNaturalBelow
Turn, natural below
ornamentTurnSharpAboveFlatBelow
Turn, sharp above, flat below
ornamentTurnSharpBelow
Turn, sharp below
Scoring applications should draw grace notes in the same way as they draw regular
notes, rather than using the precomposed glyphs.
Likewise, scoring applications should draw glissandi using multiple instances of a
wiggly line segment (e.g. wiggleGlissando), not the precomposed glyphs, to provide
variable length and angle.
160
Other baroque ornaments (U+E570U+E58F)
Other baroque ornaments (U+E570 U+E58F)
U+E570
ornamentPortDeVoixV
Port de voix
U+E572
ornamentLeftFacingHalfCircle
Left-facing half circle
U+E574
ornamentLeftFacingHook
Left-facing hook
U+E576
ornamentHookAfterNote
Hook after note
U+E578
ornamentDownCurve
Curve below
U+E57A
ornamentShortObliqueLineAfterNote
Short oblique straight line NW-SE
U+E57C
ornamentObliqueLineAfterNote
Oblique straight line NW-SE
U+E57E
ornamentDoubleObliqueLinesAfterNote
Double oblique straight lines NW-SE
U+E580
ornamentObliqueLineHorizAfterNote
Oblique straight line tilted NW-SE
161
U+E571
ornamentRightFacingHalfCircle
Right-facing half circle
U+E573
ornamentRightFacingHook
Right-facing hook
U+E575
ornamentHookBeforeNote
Hook before note
U+E577
ornamentUpCurve
Curve above
U+E579
ornamentShortObliqueLineBeforeNote
Short oblique straight line SW-NE
U+E57B
ornamentObliqueLineBeforeNote
Oblique straight line SW-NE
U+E57D
ornamentDoubleObliqueLinesBeforeNote
Double oblique straight lines SW-NE
U+E57F
ornamentObliqueLineHorizBeforeNote
Oblique straight line tilted SW-NE
U+E581
ornamentComma
Comma
Other baroque ornaments (U+E570U+E58F)
U+E582
ornamentShake3
Shake
U+E584
ornamentShakeMuffat1
Shake (Muffat)
U+E586 (and U+1D1B2)
glissandoDown
Glissando down
U+E588
ornamentPinceCouperin
Pinc (Couperin)
U+E583
ornamentVerticalLine
Vertical line

glissandoUp
Glissando up
U+E587
ornamentSchleifer
Schleifer (long mordent)
U+E589
ornamentTremblementCouperin
Tremblement appuy (Couperin)
There is little agreement over the meaning, or indeed the naming, of ornaments
beyond those that have survived into modern usage. The glyphs included in this range
are the shapes that are used by a wide variety of composers, particularly in the
baroque period. For information about the uses and interpretations of individual
symbols in this range, consult Neumann (ibid.).
162
Combining strokes for trills and mordents (U+E590U+E5AF)
Combining strokes for trills and mordents

(U+E590 U+E5AF)
U+E590
ornamentTopLeftConcaveStroke
Ornament top left concave stroke
U+E592
ornamentHighLeftConcaveStroke
Ornament high left concave stroke
ornamentLeftVerticalStroke
Ornament left vertical stroke
U+E596
ornamentLeftShakeT
Ornament left shake t
U+E598
ornamentLowLeftConcaveStroke
Ornament low left concave stroke
U+E59A
ornamentBottomLeftConcaveStroke
Ornament bottom left concave stroke
U+E59C
ornamentBottomLeftConvexStroke
Ornament bottom left convex stroke
U+E59E (and U+1D19D)
ornamentZigZagLineWithRightEnd
Ornament zig-zag line with right-hand
end
163
U+E591 (and U+1D1A5)

ornamentTopLeftConvexStroke
Ornament top left convex stroke

ornamentHighLeftConvexStroke
Ornament high left convex stroke
U+E595
ornamentLeftVerticalStrokeWithCross
Ornament left vertical stroke with cross
(+)
U+E597
ornamentLeftPlus
Ornament left +

ornamentLowLeftConvexStroke
Ornament low left convex stroke
U+E59B (and U+1D1A1)

ornamentBottomLeftConcaveStrokeLarge
Ornament bottom left concave stroke,
large
U+E59D (and U+1D19C)
ornamentZigZagLineNoRightEnd
Ornament zig-zag line without righthand end
U+E59F (and U+1D1A0)
ornamentMiddleVerticalStroke
Ornament middle vertical stroke
U+E5A0
ornamentTopRightConcaveStroke
Ornament top right concave stroke
U+E5A2
ornamentHighRightConcaveStroke
Ornament high right concave stroke
U+E5A4
ornamentRightVerticalStroke
Ornament right vertical stroke
U+E5A6
ornamentLowRightConvexStroke
Ornament low right convex stroke
U+E5A8
U+E5A1 (and U+1D19E)

ornamentTopRightConvexStroke
Ornament top right convex stroke
U+E5A3
ornamentHighRightConvexStroke
Ornament high right convex stroke
U+E5A5 (and U+1D1A3)

ornamentLowRightConcaveStroke
Ornament low right concave stroke
U+E5A7 (and U+1D19F)

ornamentBottomRightConcaveStroke
Ornament bottom right concave stroke
ornamentBottomRightConvexStroke
Ornament bottom right convex stroke
When designing the Unicode Musical Symbols range, Perry Roland elected to develop
a scheme for creating complex ornaments using a series of glyphs rather than defining
precomposed glyphs for every ornament, as shown below: 19
19
Ibid., Allen, page 539.
164
This range expands upon the repertoire of 11 strokes in the Unicode Musical Symbols
range.
The side-bearings for the glyphs in this range must be adjusted carefully to ensure
correct positioning. (Kerning pairs may also be used.)
Glyphs between ornamentTopLeftConcaveStroke and
ornamentBottomLeftConvexStroke are designed to be positioned immediately to the
left of and to join seamlessly to ornamentZigZagLineNoRightEnd.
ornamentZigZagLineWithRightEnd and glyphs between
ornamentTopRightConcaveStroke and ornamentBottomRightConvexStroke are
designed to be positioned immediately to the right of and to join seamlessly to
ornamentZigZagLineNoRightEnd. ornamentMiddleVerticalStroke should be used
immediately to the left of either ornamentZigZagLineNoRightEnd or
ornamentZigZagLineWithRightEnd to provide correct positioning of the vertical stroke
across the zig-zag line.
165
Precomposed trills and mordents (U+E5B0U+E5CF)
Precomposed trills and mordents (U+E5B0

U+E5CF)
U+E5B0
ornamentPrecompSlide
Slide
U+E5B2
ornamentPrecompAppoggTrill
Supported appoggiatura trill
U+E5B4
ornamentPrecompTurnTrillDAnglebert
Turn-trill (D'Anglebert)
U+E5B6
ornamentPrecompSlideTrillMarpurg
Slide-trill with one-note suffix (Marpurg)
U+E5B8
ornamentPrecompSlideTrillBach
Slide-trill with two-note suffix (J.S. Bach)
U+E5BA
ornamentPrecompSlideTrillSuffixMuffat
Slide-trill with two-note suffix (Muffat)
U+E5BC
ornamentPrecompPortDeVoixMordent
Pre-beat port de voix follwed by multiple
mordent (Dandrieu)
U+E5BE
ornamentPrecompCadence
Cadence
166
U+E5B1
ornamentPrecompDescendingSlide
Descending slide
U+E5B3
ornamentPrecompAppoggTrillSuffix
Supported appoggiatura trill with twonote suffix
U+E5B5
ornamentPrecompSlideTrillDAnglebert
Slide-trill (D'Anglebert)
U+E5B7
ornamentPrecompTurnTrillBach
Turn-trill with two-note suffix (J.S. Bach)
U+E5B9
ornamentPrecompSlideTrillMuffat
Slide-trill (Muffat)
U+E5BB
ornamentPrecompTrillSuffixDandrieu
Trill with two-note suffix (Dandrieu)
U+E5BD
ornamentPrecompTrillWithMordent
Trill with mordent
U+E5BF
ornamentPrecompCadenceWithTurn
Cadence with turn
U+E5C0
ornamentPrecompDoubleCadenceLowerPrefix
Double cadence with lower prefix
U+E5C2
ornamentPrecompCadenceUpperPrefixTurn
Cadence with upper prefix and turn
U+E5C4
ornamentPrecompDoubleCadenceUpperPrefixTurn
Double cadence with upper prefix and
turn
U+E5C6
ornamentPrecompMordentUpperPrefix
Mordent with upper prefix
U+E5C8
U+E5C1
ornamentPrecompCadenceUpperPrefix
Cadence with upper prefix
U+E5C3
ornamentPrecompDoubleCadenceUpperPrefix
Double cadence with upper prefix
U+E5C5
ornamentPrecompMordentRelease
Mordent with release
U+E5C7
ornamentPrecompInvertedMordentUpperPrefix
Inverted mordent with upper prefix
ornamentPrecompTrillLowerSuffix
Trill with lower suffix
The glyphs in this range show how the glyphs in the preceding range can be combined,
based on examples from the Selective Glossary of Terms and Symbols in Neumann (ibid.),
and other charts of Baroque ornamentation.
ornamentPrecompSlide
2 x ornamentZigZagLineNoRightEnd +
ornamentHighRightConcaveStroke
ornamentPrecompDescendingSlide
ornamentBottomRightConvexStroke
ornamentPrecompAppoggTrill
ornamentLeftVerticalStroke +
ornamentPrecompAppoggTrillSuffix
ornamentLeftVerticalStroke +
ornamentRightVerticalStroke
ornamentPrecompTurnTrillDAnglebert
ornamentHighLeftConvexStroke +
ornamentPrecompSlideTrillDAnglebert
ornamentBottomLeftConcaveStrokeLarge +
ornamentZigZagLineNoRightEnd +
167
ornamentPrecompSlideTrillMarpurg
ornamentBottomLeftConcaveStrokeLarge +
ornamentPrecompTurnTrillBach
ornamentHighLeftConvexStroke +
ornamentMiddleVerticalStroke +
ornamentPrecompSlideTrillBach
ornamentBottomLeftConcaveStroke +
ornamentPrecompSlideTrillMuffat
ornamentBottomLeftConvexStroke +
ornamentPrecompSlideTrillSuffixMuffat
ornamentBottomLeftConvexStroke +
ornamentPrecompTrillSuffixDandrieu
ornamentPrecompPortDeVoixMordent
ornamentLowLeftConcaveStroke +
ornamentPrecompTrillWithMordent
ornamentPrecompCadence
ornamentHighLeftConcaveStroke +
ornamentPrecompCadenceWithTurn
ornamentHighLeftConcaveStroke +
ornamentPrecompDoubleCadenceLowerPrefix
ornamentLowLeftConvexStroke + 2 x
ornamentPrecompCadenceUpperPrefix
ornamentLowLeftConvexStroke +
ornamentPrecompCadenceUpperPrefixTurn
ornamentPrecompDoubleCadenceUpperPrefix
168
ornamentPrecompDoubleCadenceUpperPrefixTurn
ornamentPrecompMordentRelease
ornamentPrecompMordentUpperPrefix
ornamentTopLeftConvexStroke + 2x
ornamentPrecompInvertedMordentUpperPrefix
ornamentTopLeftConvexStroke + 2x
ornamentPrecompTrillLowerSuffix
ornamentBottomRightConcaveStroke
169
Brass techniques (U+E5D0U+E5EF)
Brass techniques (U+E5D0 U+E5EF)
U+E5D0
brassScoop
Scoop
U+E5D2
brassLiftMedium
Lift, medium
brassDoitShort
Doit, short
U+E5D6
brassDoitLong
Doit, long
U+E5D8
brassFallLipMedium
Lip fall, medium
U+E5DA
brassFallSmoothShort
Smooth fall, short
U+E5DC
brassFallSmoothLong
Smooth fall, long
U+E5DE
brassFallRoughMedium
Rough fall, medium
U+E5E0
brassPlop
Plop
170
U+E5D1
brassLiftShort
Lift, short
U+E5D3
brassLiftLong
Lift, long
U+E5D5
brassDoitMedium
Doit, medium

brassFallLipShort
Lip fall, short
U+E5D9
brassFallLipLong
Lip fall, long
U+E5DB
brassFallSmoothMedium
Smooth fall, medium
U+E5DD
brassFallRoughShort
Rough fall, short
U+E5DF
brassFallRoughLong
Rough fall, long

brassFlip
Flip
Brass techniques (U+E5D0U+E5EF)
brassSmear
Smear
U+E5E4
brassJazzTurn
Jazz turn
U+E5E6
brassMuteHalfClosed
Half-muted (half-closed)
U+E5E8
brassHarmonMuteClosed
Harmon mute, stem in
U+E5EA
brassHarmonMuteStemHalfRight
Harmon mute, stem extended, right
U+E5EC
brassLiftSmoothShort
Smooth lift, short
U+E5EE
brassLiftSmoothLong
Smooth lift, long
171

brassBend
Bend
U+E5E5
brassMuteClosed
Muted (closed)
U+E5E7
brassMuteOpen
Open
U+E5E9
brassHarmonMuteStemHalfLeft
Harmon mute, stem extended, left
U+E5EB
brassHarmonMuteStemOpen
Harmon mute, stem out
U+E5ED
brassLiftSmoothMedium
Smooth lift, medium
Wind techniques (U+E5F0U+E60F)
Wind techniques (U+E5F0 U+E60F)
U+E5F0 (and U+1D18A)
doubleTongueAbove
Double-tongue above
U+E5F2 (and U+1D18B)
tripleTongueAbove
Triple-tongue above
U+E5F4
windClosedHole
Closed hole
U+E5F6
windHalfClosedHole1
Half-closed hole
U+E5F8
windHalfClosedHole3
Half-open hole
U+E5FA
windTrillKey
Trill key
U+E5FC
windSharpEmbouchure
Sharper embouchure
U+E5FE
windLessRelaxedEmbouchure
Somewhat relaxed embouchure
U+E600
windLessTightEmbouchure
Somewhat tight embouchure
172
U+E5F1
doubleTongueBelow
Double-tongue below
U+E5F3
tripleTongueBelow
Triple-tongue below
U+E5F5
windThreeQuartersClosedHole
Three-quarters closed hole
U+E5F7
windHalfClosedHole2
Half-closed hole 2
U+E5F9
windOpenHole
Open hole
U+E5FB
windFlatEmbouchure
Flatter embouchure
U+E5FD
windRelaxedEmbouchure
Relaxed embouchure
U+E5FF
windTightEmbouchure
Tight embouchure
U+E601
windVeryTightEmbouchure
Very tight embouchure
Wind techniques (U+E5F0U+E60F)
U+E602
windWeakAirPressure
Very relaxed embouchure / weak airpressure
U+E604
windReedPositionNormal
Normal reed position
U+E606
windReedPositionIn
Much more reed (push inwards)
U+E608
uniE5F0.salt01
windMultiphonicsWhiteStem
Combining multiphonics (white) for
stem
doubleTongueAboveNoSlur
Double-tongue above (no slur)
uniE5F2.salt01
Triple-tongue above (no slur)
173
windStrongAirPressure
Very tight embouchure / strong air
pressure
U+E605
windReedPositionOut
Very little reed (pull outwards)
U+E607
windMultiphonicsBlackStem
Combining multiphonics (black) for
stem
U+E609
uniE5F1.salt01
tripleTongueAboveNoSlur
U+E603
windMultiphonicsBlackWhiteStem
Combining multiphonics (black and
white) for stem
doubleTongueBelowNoSlur
Double-tongue below (no slur)
uniE5F3.salt01
tripleTongueBelowNoSlur
Triple-tongue below (no slur)
String techniques (U+E610U+E62F)
String techniques (U+E610 U+E62F)
U+E610 (and U+1D1AA)
stringsDownBow
Down bow
U+E612 (and U+1D1AB)
stringsUpBow
Up bow
U+E614 (and U+1D1AC)
stringsHarmonic
Harmonic
U+E616
stringsMuteOn
Mute on
U+E618
stringsBowBehindBridge
Bow behind bridge (sul ponticello)
U+E61A
stringsBowOnTailpiece
Bow on tailpiece
U+E61C
stringsOverpressureUpBow
Overpressure, up bow
U+E61E
stringsOverpressurePossibileUpBow
Overpressure possibile, up bow
U+E620
stringsJeteAbove
Jet (gettato) above
174
U+E611
stringsDownBowTurned
Turned down bow
U+E613
stringsUpBowTurned
Turned up bow
U+E615
stringsHalfHarmonic
Half-harmonic
U+E617
stringsMuteOff
Mute off
U+E619
stringsBowOnBridge
Bow on top of bridge
U+E61B
stringsOverpressureDownBow
Overpressure, down bow
U+E61D
stringsOverpressurePossibileDownBow
Overpressure possibile, down bow
U+E61F
stringsOverpressureNoDirection
Overpressure, no bow direction
U+E621
stringsJeteBelow
Jet (gettato) below
String techniques (U+E610U+E62F)
U+E622
stringsFouette
Fouett
U+E624
stringsThumbPosition
Thumb position
U+E626
U+E623
stringsVibratoPulse
Vibrato pulse accent (Saunders) for
stem
U+E625
uniE626.salt02
stringsThumbPositionTurned
Turned thumb position
stringsChangeBowDirection
Change bow direction, indeterminate
uniE626.salt01
stringsChangeBowDirectionLiga
(Pricope)
stringsChangeBowDirectionImposed
(Pltz)
Scoring applications should not use the precomposed glyphs that include stems but
instead draw the stems using primitives and impose the symbols upon them to ensure
optimal positioning.
175
Plucked techniques (U+E630U+E63F)
Plucked techniques (U+E630 U+E63F)
U+E630 (and U+1D1AD)
pluckedSnapPizzicatoBelow
Snap pizzicato below
U+E632
pluckedBuzzPizzicato
Buzz pizzicato
U+E634 (and U+1D183)
arpeggiatoUp
Arpeggiato up
pluckedWithFingernails
With fingernails
pluckedDamp
Damp
U+E63A
uniE630.salt01
pluckedPlectrum
Plectrum

pluckedSnapPizzicatoBelowGerman
Snap pizzicato below (German)
U+E631
pluckedSnapPizzicatoAbove
Snap pizzicato above
U+E633
pluckedLeftHandPizzicato
Left-hand pizzicato
U+E635 (and U+1D184)

arpeggiatoDown
Arpeggiato down
U+E637
pluckedFingernailFlick
Fingernail flick

pluckedDampAll
Damp all
U+E63B
uniE631.salt01
pluckedDampOnStem
Damp for stem
pluckedSnapPizzicatoAboveGerman
Snap pizzicato above (German)
Scoring applications should draw arpeggiato markings using multiple instances of the
appropriate wiggly line segment glyphs (in the Multi-segment lines range) rather
than the precomposed glyphs (arpeggiatoUp and arpeggiatoDown) to allow variable
length.
176
Vocal techniques (U+E640U+E64F)
Vocal techniques (U+E640 U+E64F)
U+E640
vocalMouthClosed
Mouth closed
U+E642
vocalMouthOpen
Mouth open
U+E644
vocalMouthPursed
Mouth pursed
U+E646
vocalsSussurando
Combining sussurando for stem
177
U+E641
vocalMouthSlightlyOpen
Mouth slightly open
U+E643
vocalMouthWideOpen
Mouth wide open
U+E645
vocalSprechgesang
Sprechgesang
Keyboard techniques (U+E650U+E67F)
Keyboard techniques (U+E650 U+E67F)
U+E650 (and U+1D1AE)
keyboardPedalPed
Pedal mark
U+E652
keyboardPedalE
Pedal e
U+E654
keyboardPedalDot
Pedal dot
keyboardPedalHalf
Half-pedal mark
U+E658
keyboardPedalHyphen
Pedal hyphen
U+E65A
keyboardPedalS
Pedal S
U+E65C
keyboardPedalHalf3
Half pedal mark 2
U+E65E
keyboardLeftPedalPictogram
Left pedal pictogram
U+E660
keyboardRightPedalPictogram
Right pedal pictogram
178
U+E651
keyboardPedalP
Pedal P
U+E653
keyboardPedalD
Pedal d
U+E655 (and U+1D1AF)

keyboardPedalUp
Pedal up mark
U+E657
keyboardPedalUpNotch
Pedal up notch
U+E659
keyboardPedalSost
Sostenuto pedal mark
U+E65B
keyboardPedalHalf2
Half pedal mark 1
U+E65D
keyboardPedalUpSpecial
Pedal up special
U+E65F
keyboardMiddlePedalPictogram
Middle pedal pictogram
U+E661
keyboardPedalHeel1
Pedal heel 1
Keyboard techniques (U+E650U+E67F)
U+E662
keyboardPedalHeel2
Pedal heel 2
U+E664
keyboardPedalToe1
Pedal toe 1
U+E666
keyboardPedalHeelToe
Pedal heel or toe
U+E668
keyboardBebung2DotsAbove
Clavichord bebung, 2 finger
movements (above)
U+E66A
movements (above)
U+E66C
movements (above)
U+E66E
keyboardPlayWithRH
Play with right hand
U+E670
keyboardPlayWithLH
Play with left hand
uniE650.salt01
keyboardPedalPedNoDot
Pedal mark (no dot)
179
U+E663
keyboardPedalHeel3
Pedal heel 3 (Davis)
U+E665
keyboardPedalToe2
Pedal toe 2
U+E667
keyboardPluckInside
Pluck strings inside piano (Maderna)
U+E669
keyboardBebung2DotsBelow
movements (below)
U+E66B
movements (below)
U+E66D
movements (below)
U+E66F
keyboardPlayWithRHEnd
Play with right hand (end)
U+E671
keyboardPlayWithLHEnd
Play with left hand (end)
uniE659.salt01
keyboardPedalSostNoDot
Sostenuto pedal mark (no dot)
Harp techniques (U+E680U+E69F)
Harp techniques (U+E680 U+E69F)
U+E680
harpPedalRaised
Harp pedal raised (flat)
U+E682
harpPedalLowered
Harp pedal lowered (sharp)
U+E684
harpSalzedoSlideWithSuppleness
Slide with suppleness (Salzedo)
U+E686
harpSalzedoThunderEffect
Thunder effect (Salzedo)
U+E688
harpSalzedoMetallicSounds
Metallic sounds (Salzedo)
U+E68A
harpSalzedoPlayUpperEnd
Play at upper end of strings (Salzedo)
U+E68C
harpSalzedoMuffleTotally
Muffle totally (Salzedo)
U+E68E
harpSalzedoFluidicSoundsRight
Fluidic sounds, right hand (Salzedo)
U+E690
harpTuningKey
Tuning key pictogram
180
U+E681
harpPedalCentered
Harp pedal centered (natural)
U+E683
harpPedalDivider
Harp pedal divider
U+E685
harpSalzedoOboicFlux
Oboic flux (Salzedo)
U+E687
harpSalzedoWhistlingSounds
Whistling sounds (Salzedo)
U+E689
harpSalzedoTamTamSounds
Tam-tam sounds (Salzedo)
U+E68B
harpSalzedoTimpanicSounds
Timpanic sounds (Salzedo)
U+E68D
harpSalzedoFluidicSoundsLeft
Fluidic sounds, left hand (Salzedo)
U+E68F
harpMetalRod
Metal rod pictogram
U+E691
harpTuningKeyHandle
Use handle of tuning key pictogram
Harp techniques (U+E680U+E69F)
U+E692
harpTuningKeyShank
Use shank of tuning key pictogram
U+E694
harpStringNoiseStem
Combining string noise for stem
U+E696
U+E693
harpTuningKeyGlissando
Retune strings for glissando
U+E695
harpSalzedoAeolianAscending
Ascending aeolian chords (Salzedo)
harpSalzedoAeolianDescending
Descending aeolian chords (Salzedo)
uniE68F.salt01
harpMetalRodAlt
Metal rod pictogram (alternative)
uniE690.salt01
harpTuningKeyAlt
Tuning key pictogram (alternative)
harpSalzedoFluidicSoundsLeft and harpSalzedoFluidicSoundsRight are similar in
function to noteheads, and should be positioned relative to note stems in the same
way.
harpSalzedoOboicFlux and harpSalzedoPlayUpperEnd may be repeated to create a
continuing line, indicating the duration of the technique.
181
Tuned mallet percussion pictograms (U+E6A0U+E6BF)
Tuned mallet percussion pictograms (U+E6A0

U+E6BF)
U+E6A0
pictGlsp
Glockenspiel
U+E6A2
pictXylTenor
Tenor xylophone
U+E6A4
pictXylTrough
Trough xylophone
U+E6A6
pictMar
Marimba
U+E6A8
pictVibMotorOff
Metallophone (vibraphone motor off)
U+E6AA
pictGlspSmithBrindle
Glockenspiel (Smith Brindle)
U+E6AC
pictMarSmithBrindle
Marimba (Smith Brindle)
U+E6AE
pictCrotales
Crotales
182
U+E6A1
pictXyl
Xylophone
U+E6A3
pictXylBass
Bass xylophone
U+E6A5
pictXylTenorTrough
Trough tenor xylophone
U+E6A7
pictVib
Vibraphone
U+E6A9
pictEmptyTrap
Empty trapezoid
U+E6AB
pictXylSmithBrindle
Xylophone (Smith Brindle)
U+E6AD
pictVibSmithBrindle
Vibraphone (Smith Brindle)
U+E6AF
pictSteelDrums
Steel drums
Tuned mallet percussion pictograms (U+E6A0U+E6BF)
U+E6B0
pictCelesta
Celesta
U+E6B2
uniE6A0.salt01
U+E6B1
uniE6A1.salt01
pictLithophone
Lithophone
pictTubaphone
Tubaphone
pictGlspPeinkofer
Glockenspiel (Peinkofer/Tannigel)
uniE6A2.salt01
pictXylTenorPeinkofer
Tenor xylophone (Peinkofer/Tannigel)
uniE6A6.salt01
pictMarPeinkofer
Marimba (Peinkofer/Tannigel)
uniE6A8.salt01
pictVibMotorOffPeinkofer
Metallophone (vibraphone motor off)
(Peinkofer/Tannigel)
uniE6B2.salt01
pictTubaphonePeinkofer
Tubaphone (Peinkofer/Tannigel)
183
pictXylPeinkofer
Xylophone (Peinkofer/Tannigel)
uniE6A3.salt01
pictXylBassPeinkofer
Bass xylophone (Peinkofer/Tannigel)
uniE6A7.salt01
pictVibPeinkofer
Vibraphone (Peinkofer/Tannigel)
uniE6B1.salt01
pictLithophonePeinkofer
Lithophone (Peinkofer/Tannigel)
Chimes pictograms (U+E6C0U+E6CF)
Chimes pictograms (U+E6C0 U+E6CF)
U+E6C0
pictTubularBells
Tubular bells
U+E6C2
pictChimes
Chimes
U+E6C4
pictShellChimes
Shell chimes
U+E6C6
pictGlassPlateChimes
Glass plate chimes
U+E6C8
pictMetalPlateChimes
Metal plate chimes
184
U+E6C1
pictWindChimesGlass
Wind chimes (glass)
U+E6C3
pictBambooChimes
Bamboo tube chimes
U+E6C5
pictGlassTubeChimes
Glass tube chimes
U+E6C7
pictMetalTubeChimes
Metal tube chimes
Drums pictograms (U+E6D0U+E6EF)
Drums pictograms (U+E6D0 U+E6EF)
U+E6D0
pictTimpani
Timpani
U+E6D2
pictSnareDrumSnaresOff
Snare drum, snares off
U+E6D4
pictBassDrum
Bass drum
U+E6D6
pictTenorDrum
Tenor drum
U+E6D8
pictTomTomChinese
Chinese tom-tom
U+E6DA
pictTomTomIndoAmerican
Indo-American tom tom
U+E6DC
pictTimbales
Timbales
U+E6DE
pictConga
Conga
U+E6E0
pictSlitDrum
Slit drum
185
U+E6D1
pictSnareDrum
Snare drum
U+E6D3
pictSnareDrumMilitary
Military snare drum
U+E6D5
pictBassDrumOnSide
Bass drum on side
U+E6D7
pictTomTom
Tom-tom
U+E6D9
pictTomTomJapanese
Japanese tom-tom
U+E6DB
pictTambourine
Tambourine
U+E6DD
pictBongos
Bongos
U+E6DF
pictLogDrum
Log drum
U+E6E1
pictBrakeDrum
Brake drum
Drums pictograms (U+E6D0U+E6EF)
U+E6E2
pictGobletDrum
Goblet drum (djembe, dumbek)
U+E6E4
uniE6D0.salt01
U+E6E3
uniE6D4.salt01
pictTabla
Indian tabla
pictCuica
Cuica
pictTimpaniPeinkofer
Timpani (Peinkofer/Tannigel)
uniE6D7.salt01
pictTomTomPeinkofer
Tom-tom (Peinkofer/Tannigel)
uniE6DB.salt01
pictTambourineStockhausen
Tambourine (Stockhausen)
uniE6DD.salt01
pictBongosPeinkofer
Bongos (Peinkofer/Tannigel)
186
pictBassDrumPeinkofer
Bass drum (Peinkofer/Tannigel)
uniE6D8.salt01
pictTomTomChinesePeinkofer
Chinese tom-tom (Peinkofer/Tannigel)
uniE6DC.salt01
pictTimbalesPeinkofer
Timbales (Peinkofer/Tannigel)
uniE6DE.salt01
pictCongaPeinkofer
Conga (Peinkofer/Tannigel)
Wooden struck or scraped percussion pictograms (U+E6F0U+E6FF)
Wooden struck or scraped percussion pictograms

(U+E6F0 U+E6FF)
U+E6F0
pictWoodBlock
Wood block
U+E6F2
pictClaves
Claves
U+E6F4
pictRatchet
Ratchet
U+E6F6
pictWhip
Whip
U+E6F8
pictCastanets
Castanets
U+E6FA
pictQuijada
Quijada (jawbone)
U+E6FC
uniE6F3.salt01
U+E6F1
pictTempleBlocks
Temple blocks
U+E6F3
pictGuiro
Guiro
U+E6F5
pictFootballRatchet
Football rattle
U+E6F7
pictBoardClapper
Board clapper
U+E6F9
pictCastanetsWithHandle
Castanets with handle
U+E6FB
pictBambooScraper
Bamboo scraper
pictRecoReco
Reco-reco
pictGuiroSevsay
Guiro (Sevsay)
187
uniE6F3.salt02
pictGuiroPeinkofer
Guiro (Peinkofer/Tannigel)
Wooden struck or scraped percussion pictograms (U+E6F0U+E6FF)
uniE6F8.salt01
pictCastanetsSmithBrindle
Castanets (Smith Brindle)
188
Metallic struck percussion pictograms (U+E700U+E70F)
Metallic struck percussion pictograms (U+E700

U+E70F)
U+E700
pictTriangle
Triangle
189
U+E701
pictAnvil
Anvil
Bells pictograms (U+E710U+E71F)
Bells pictograms (U+E710 U+E71F)
U+E710
pictSleighBell
Sleigh bell
U+E712
pictAlmglocken
Almglocken
U+E714
pictBell
Bell
U+E716
pictCencerro
Cencerro
U+E718
pictShellBells
Shell bells
U+E71A
U+E711
pictCowBell
Cow bell
U+E713
pictBellPlate
Bell plate
U+E715
pictHandbell
Handbell
U+E717
pictAgogo
Agogo
U+E719
uniE711.salt01
pictJingleBells
Jingle bells
pictBellTree
Bell tree
uniE710.salt01
pictSleighBellSmithBrindle
Sleigh bell (Smith Brindle)
190
pictCowBellBerio
Cow bell (Berio)
Cymbals pictograms (U+E720U+E72F)
Cymbals pictograms (U+E720 U+E72F)
U+E720
pictCrashCymbals
Crash cymbals
U+E722
pictHiHat
Hi-hat
U+E724
pictSizzleCymbal
Sizzle cymbal
U+E726
pictChineseCymbal
Chinese cymbal
U+E728
pictCymbalTongs
Cymbal tongs
U+E72A
pictBellOfCymbal
Bell of cymbal
191
U+E721
pictSuspendedCymbal
Suspended cymbal
U+E723
pictHiHatOnStand
Hi-hat cymbals on stand
U+E725
pictVietnameseHat
Vietnamese hat cymbal
U+E727
pictFingerCymbals
Finger cymbals
U+E729
pictEdgeOfCymbal
Edge of cymbal
Gongs pictograms (U+E730U+E73F)
Gongs pictograms (U+E730 U+E73F)
U+E730
pictTamTam
Tam-tam
U+E732
pictGong
Gong
U+E734
pictSlideBrushOnGong
Slide brush on gong
192
U+E731
pictTamTamWithBeater
Tam-tam with beater (Smith Brindle)
U+E733
pictGongWithButton
Gong with button (nipple)
Shakers or rattles pictograms (U+E740U+E74F)
Shakers or rattles pictograms (U+E740 U+E74F)
U+E740
pictFlexatone
Flexatone
U+E742
pictMaracas
Maracas
U+E744
pictThundersheet
Thundersheet
U+E746
pictSistrum
Sistrum
U+E748
uniE740.salt01
U+E741
pictMaraca
Maraca
U+E743
pictCabasa
Cabasa
U+E745
pictVibraslap
Vibraslap
U+E747
uniE741.salt01
pictRainstick
Rainstick
pictChainRattle
Chain rattle

pictFlexatonePeinkofer
Flexatone (Peinkofer/Tannigel)
193
pictMaracaSmithBrindle
Maraca (Smith Brindle)
Whistles and aerophones pictograms (U+E750U+E75F)
Whistles and aerophones pictograms (U+E750

U+E75F)
U+E750
pictSlideWhistle
Slide whistle
U+E752
pictPoliceWhistle
Police whistle
U+E754
pictWindMachine
Wind machine
U+E756
pictKlaxonHorn
Klaxon horn
U+E758
pictWindWhistle
Wind whistle (or mouth siren)
U+E75A
uniE75A.salt01
pictLotusFlute
Lotus flute

pictLotusFlutePeinkofer
Lotus flute (Peinkofer/Tannigel)
194
U+E751
pictBirdWhistle
Bird whistle
U+E753
pictSiren
Siren
U+E755
pictCarHorn
Car horn
U+E757
pictDuckCall
Duck call
U+E759
pictMegaphone
Megaphone
Miscellaneous percussion instrument pictograms (U+E760U+E76F)
Miscellaneous percussion instrument pictograms

(U+E760 U+E76F)
U+E760
pictPistolShot
Pistol shot
U+E762
pictSandpaperBlocks
Sandpaper blocks
U+E764
pictGlassHarp
Glass harp
U+E766
pictMusicalSaw
Musical saw
uniE766.salt01
pictMusicalSawPeinkofer
Musical saw (Peinkofer/Tannigel)
195
U+E761
pictCannon
Cannon
U+E763
pictLionsRoar
Lion's roar
U+E765
pictGlassHarmonica
Glass harmonica
U+E767
pictJawHarp
Jaw harp
Beaters pictograms (U+E770U+E7EF)
Beaters pictograms (U+E770 U+E7EF)
U+E770
pictBeaterSoftXylophoneUp
Soft xylophone stick up
U+E772
pictBeaterSoftXylophoneRight
Soft xylophone stick right
U+E774
pictBeaterMediumXylophoneUp
Medium xylophone stick up
U+E776
pictBeaterMediumXylophoneRight
Medium xylophone stick right
U+E778
pictBeaterHardXylophoneUp
Hard xylophone stick up
U+E77A
pictBeaterHardXylophoneRight
Hard xylophone stick right
U+E77C
pictBeaterWoodXylophoneUp
Wood xylophone stick up
U+E77E
pictBeaterWoodXylophoneRight
Wood xylophone stick right
U+E780
pictBeaterSoftGlockenspielUp
Soft glockenspiel stick up
196
U+E771
pictBeaterSoftXylophoneDown
Soft xylophone stick down
U+E773
pictBeaterSoftXylophoneLeft
Soft xylophone stick left
U+E775
pictBeaterMediumXylophoneDown
Medium xylophone stick down
U+E777
pictBeaterMediumXylophoneLeft
Medium xylophone stick left
U+E779
pictBeaterHardXylophoneDown
Hard xylophone stick down
U+E77B
pictBeaterHardXylophoneLeft
Hard xylophone stick left
U+E77D
pictBeaterWoodXylophoneDown
Wood xylophone stick down
U+E77F
pictBeaterWoodXylophoneLeft
Wood xylophone stick left
U+E781
pictBeaterSoftGlockenspielDown
Soft glockenspiel stick down
U+E782
pictBeaterSoftGlockenspielRight
Soft glockenspiel stick right
U+E784
pictBeaterHardGlockenspielUp
Hard glockenspiel stick up
U+E786
pictBeaterHardGlockenspielRight
Hard glockenspiel stick right
U+E788
pictBeaterSoftTimpaniUp
Soft timpani stick up
U+E78A
pictBeaterSoftTimpaniRight
Soft timpani stick right
U+E78C
pictBeaterMediumTimpaniUp
Medium timpani stick up
U+E78E
pictBeaterMediumTimpaniRight
Medium timpani stick right
U+E790
pictBeaterHardTimpaniUp
Hard timpani stick up
U+E792
pictBeaterHardTimpaniRight
Hard timpani stick right
197
U+E783
pictBeaterSoftGlockenspielLeft
Soft glockenspiel stick left
U+E785
pictBeaterHardGlockenspielDown
Hard glockenspiel stick down
U+E787
pictBeaterHardGlockenspielLeft
Hard glockenspiel stick left
U+E789
pictBeaterSoftTimpaniDown
Soft timpani stick down
U+E78B
pictBeaterSoftTimpaniLeft
Soft timpani stick left
U+E78D
pictBeaterMediumTimpaniDown
Medium timpani stick down
U+E78F
pictBeaterMediumTimpaniLeft
Medium timpani stick left
U+E791
pictBeaterHardTimpaniDown
Hard timpani stick down
U+E793
pictBeaterHardTimpaniLeft
Hard timpani stick left
U+E794
pictBeaterWoodTimpaniUp
Wood timpani stick up
U+E796
pictBeaterWoodTimpaniRight
Wood timpani stick right
U+E798
pictBeaterSoftBassDrumUp
Soft bass drum stick up
U+E79A
pictBeaterMediumBassDrumUp
Medium bass drum stick up
U+E79C
pictBeaterHardBassDrumUp
Hard bass drum stick up
U+E79E
pictBeaterMetalBassDrumUp
Metal bass drum stick up
U+E7A0
pictBeaterDoubleBassDrumUp
Double bass drum stick up
U+E7A2
pictBeaterSoftYarnUp
Soft yarn beater up
U+E7A4
pictBeaterSoftYarnRight
Soft yarn beater right
198
U+E795
pictBeaterWoodTimpaniDown
Wood timpani stick down
U+E797
pictBeaterWoodTimpaniLeft
Wood timpani stick left
U+E799
pictBeaterSoftBassDrumDown
Soft bass drum stick down
U+E79B
pictBeaterMediumBassDrumDown
Medium bass drum stick down
U+E79D
pictBeaterHardBassDrumDown
Hard bass drum stick down
U+E79F
pictBeaterMetalBassDrumDown
Metal bass drum stick down
U+E7A1
pictBeaterDoubleBassDrumDown
Double bass drum stick down
U+E7A3
pictBeaterSoftYarnDown
Soft yarn beater down
U+E7A5
pictBeaterSoftYarnLeft
Soft yarn beater left
U+E7A6
pictBeaterMediumYarnUp
Medium yarn beater up
U+E7A8
pictBeaterMediumYarnRight
Medium yarn beater right
U+E7AA
pictBeaterHardYarnUp
Hard yarn beater up
U+E7AC
pictBeaterHardYarnRight
Hard yarn beater right
U+E7AE
pictBeaterSuperballUp
Superball beater up
U+E7B0
pictBeaterSuperballRight
Superball beater right
U+E7B2
pictSuperball
Superball
U+E7B4
pictWoundHardDown
Wound beater, hard core down
U+E7B6
pictWoundHardLeft
Wound beater, hard core left
199
U+E7A7
pictBeaterMediumYarnDown
Medium yarn beater down
U+E7A9
pictBeaterMediumYarnLeft
Medium yarn beater left
U+E7AB
pictBeaterHardYarnDown
Hard yarn beater down
U+E7AD
pictBeaterHardYarnLeft
Hard yarn beater left
U+E7AF
pictBeaterSuperballDown
Superball beater down
U+E7B1
pictBeaterSuperballLeft
Superball beater left
U+E7B3
pictWoundHardUp
Wound beater, hard core up
U+E7B5
pictWoundHardRight
Wound beater, hard core right
U+E7B7
pictWoundSoftUp
Wound beater, soft core up
U+E7B8
pictWoundSoftDown
Wound beater, soft core down
U+E7BA
pictWoundSoftLeft
Wound beater, soft core left
U+E7BC
pictGumSoftDown
Soft gum beater, down
U+E7BE
pictGumSoftLeft
Soft gum beater, left
U+E7C0
pictGumMediumDown
Medium gum beater, down
U+E7C2
pictGumMediumLeft
Medium gum beater, left
U+E7C4
pictGumHardDown
Hard gum beater, down
U+E7C6
pictGumHardLeft
Hard gum beater, left
U+E7C8
pictBeaterMetalDown
Metal beater down
200
U+E7B9
pictWoundSoftRight
Wound beater, soft core right
U+E7BB
pictGumSoftUp
Soft gum beater, up
U+E7BD
pictGumSoftRight
Soft gum beater, right
U+E7BF
pictGumMediumUp
Medium gum beater, up
U+E7C1
pictGumMediumRight
Medium gum beater, right
U+E7C3
pictGumHardUp
Hard gum beater, up
U+E7C5
pictGumHardRight
Hard gum beater, right
U+E7C7
pictBeaterMetalUp
Metal beater, up
U+E7C9
pictBeaterMetalRight
Metal beater, right
U+E7CA
pictBeaterMetalLeft
Metal beater, left
U+E7CC
pictBeaterHammerWoodDown
Wooden hammer, down
U+E7CE
pictBeaterHammerPlasticDown
Plastic hammer, down
U+E7D0
pictBeaterHammerMetalDown
Metal hammer, down
U+E7D2
pictBeaterSnareSticksDown
Snare sticks down
U+E7D4
pictBeaterJazzSticksDown
Jazz sticks down
U+E7D6
pictBeaterTriangleDown
Triangle beater down
U+E7D8
pictBeaterWireBrushesDown
Wire brushes down
U+E7DA
pictBeaterBrassMalletsDown
Brass mallets down
201
U+E7CB
pictBeaterHammerWoodUp
Wooden hammer, up
U+E7CD
pictBeaterHammerPlasticUp
Plastic hammer, up
U+E7CF
pictBeaterHammerMetalUp
Metal hammer, up
U+E7D1
pictBeaterSnareSticksUp
Snare sticks up
U+E7D3
pictBeaterJazzSticksUp
Jazz sticks up
U+E7D5
pictBeaterTriangleUp
Triangle beater up
U+E7D7
pictBeaterWireBrushesUp
Wire brushes up
U+E7D9
pictBeaterBrassMalletsUp
Brass mallets up
U+E7DB
pictBeaterSoftXylophone
Soft xylophone beaters
U+E7DC
pictBeaterSpoonWoodenMallet
Spoon-shaped wooden mallet
U+E7DE
pictBeaterBow
Bow
U+E7E0
pictBeaterMetalHammer
Metal hammer
U+E7E2
pictBeaterKnittingNeedle
Knitting needle
U+E7E4
pictBeaterFinger
Finger
U+E7E6
pictBeaterFingernails
Fingernails
U+E7E8
pictDrumStick
Drum stick
U+E7EA
pictBeaterCombiningDashedCircle
Combining dashed circle for round
beaters (plated)
202
U+E7DD
pictBeaterGuiroScraper
Guiro scraper
U+E7DF
pictBeaterMallet
Chime hammer
U+E7E1
pictBeaterHammer
Hammer
U+E7E3
pictBeaterHand
Hand
U+E7E5
pictBeaterFist
Fist
U+E7E7
pictCoins
Coins
U+E7E9
pictBeaterCombiningParentheses
Combining parentheses for round
beaters (padded)
U+E7EB
pictBeaterBox
Box for percussion beater
Percussion playing technique pictograms (U+E7F0U+E80F)
Percussion playing technique pictograms

(U+E7F0 U+E80F)
U+E7F0
pictStickShot
Stick shot
U+E7F2
pictScrapeEdgeToCenter
Scrape from edge to center
U+E7F4
pictOnRim
On rim
U+E7F6
pictHalfOpen1
Half-open
U+E7F8
pictOpen
Open
U+E7FA
pictDamp2
Damp 2
U+E7FC
pictDamp4
Damp 4
U+E7FE
pictCenter1
Center (Weinberg)
203
U+E7F1
pictScrapeCenterToEdge
Scrape from center to edge
U+E7F3
pictScrapeAroundRim
Scrape around rim
U+E7F5
pictOpenRimShot
Closed / rim shot
U+E7F7
pictHalfOpen2
Half-open 2 (Weinberg)
U+E7F9
pictDamp1
Damp
U+E7FB
pictDamp3
Damp 3
U+E7FD
pictRimShotOnStem
Rim shot for stem
U+E7FF
pictCenter2
Center (Ghent)
Percussion playing technique pictograms (U+E7F0U+E80F)
U+E800
pictCenter3
Center (Caltabiano)
U+E802
pictRim2
Rim (Ghent)
U+E804
pictNormalPosition
Normal position (Caltabiano)
U+E806
pictRightHandSquare
Left hand (Agostini)
U+E808
pictSwishStem
Combining swish for stem
U+E80A
pictTurnLeftStem
Combining turn left for stem
U+E80C
pictCrushStem
Combining crush for stem
204
U+E801
pictRim1
Rim or edge (Weinberg)
U+E803
pictRim3
Rim (Caltabiano)
U+E805
pictChokeCymbal
Choke (Weinberg)
U+E807
pictLeftHandCircle
Right hand (Agostini)
U+E809
pictTurnRightStem
Combining turn right for stem
U+E80B
pictTurnRightLeftStem
Combining turn left or right for stem
U+E80D
pictDeadNoteStem
Combining X for stem (dead note)
Handbells (U+E810U+E82F)
Handbells (U+E810 U+E82F)
U+E810
handbellsMartellato
Martellato
U+E812
handbellsHandMartellato
Hand martellato
U+E814
handbellsMalletBellSuspended
Mallet, bell suspended
U+E816
handbellsMalletLft
Mallet lift
U+E818
handbellsSwingUp
Swing up
U+E81A
handbellsSwing
Swing
U+E81C
handbellsEcho2
Echo 2
U+E81E
handbellsDamp3
Damp 3
U+E820
handbellsTableSingleBell
Table single handbell
205
U+E811
handbellsMartellatoLift
Martellato lift
U+E813
handbellsMutedMartellato
Muted martellato
U+E815
handbellsMalletBellOnTable
Mallet, bell on table
U+E817
handbellsPluckLift
Pluck lift
U+E819
handbellsSwingDown
Swing down
U+E81B
handbellsEcho1
Echo
U+E81D
handbellsGyro
Gyro
U+E81F
handbellsBelltree
Belltree
U+E821
handbellsTablePairBells
Table pair of handbells
Guitar (U+E830U+E84F)
Guitar (U+E830 U+E84F)
U+E830
guitarVibratoBarScoop
Guitar vibrato bar scoop
U+E832
guitarShake
Guitar shake
U+E834
guitarString1
String number 1
U+E836
guitarString3
String number 3
U+E838
guitarString5
String number 5
U+E83A
guitarString7
String number 7
U+E83C
guitarString9
String number 9
U+E83E
guitarHalfOpenPedal
Half-open wah/volume pedal
U+E840
guitarLeftHandTapping
Left-hand tapping
206
U+E831
guitarVibratoBarDip
Guitar vibrato bar dip
U+E833
guitarString0
String number 0
U+E835
guitarString2
String number 2
U+E837
guitarString4
String number 4
U+E839
guitarString6
String number 6
U+E83B
guitarString8
String number 8
U+E83D
guitarOpenPedal
Open wah/volume pedal
U+E83F
guitarClosePedal
Closed wah/volume pedal
U+E841
guitarRightHandTapping
Right-hand tapping
Guitar (U+E830U+E84F)
U+E842
guitarGolpe
Golpe (tapping the pick guard)
U+E844
guitarFadeOut
Fade out
U+E846
uniE842.salt01
guitarStrumUp
Strum direction up

guitarGolpeFlamenco
Golpe (tapping the pick guard)
(Vounelakos)
207
U+E843
guitarFadeIn
Fade in
U+E845
guitarVolumeSwell
Volume swell
U+E847
guitarStrumDown
Strum direction down
Chord diagrams (U+E850U+E85F)
Chord diagrams (U+E850 U+E85F)
U+E850
fretboard3String
3-string fretboard
fretboard4String
4-string fretboard
U+E854
fretboard5String
5-string fretboard
fretboard6String
6-string fretboard
U+E858
fretboardFilledCircle
Fingered fret (filled circle)
U+E85A
U+E851
fretboard3StringNut
3-string fretboard at nut
U+E853
fretboard4StringNut
U+E855
fretboard5StringNut
U+E857
fretboard6StringNut
U+E859
fretboardX
String not played (X)
fretboardO
Open string (O)
Scoring applications may choose to draw chord diagram fretboards using primitives in
order to provide the end user with control over grid spacing and line thickness relative
to size.
208
Analytics (U+E860U+E86F)
Analytics (U+E860 U+E86F)
analyticsHauptstimme
Hauptstimme
U+E862
analyticsStartStimme
Start of stimme
U+E864
analyticsTheme
Theme
U+E866
analyticsThemeRetrogradeInversion
Retrograde inversion of theme
U+E868
analyticsTheme1
Theme 1
U+E86A
analyticsChoralmelodie
Choralmelodie (Berg)
uniE86B.salt01
analyticsHauptrhythmusR
Hauptrhythmus R (Berg)
209

analyticsNebenstimme
Nebenstimme

analyticsEndStimme
End of stimme
U+E865
analyticsThemeRetrograde
Retrograde of theme
U+E867
analyticsThemeInversion
Inversion of theme
U+E869
analyticsInversion1
Inversion 1
U+E86B
analyticsHauptrhythmus
Hauptrhythmus (Berg)
Chord symbols (U+E870U+E87F)
Chord symbols (U+E870 U+E87F)
csymDiminished
Diminished
U+E872
csymAugmented
Augmented
U+E874
csymMinor
Minor
U+E876
csymParensRightTall
Double-height right parenthesis
U+E878
U+E871
csymHalfDiminished
Half-diminished
U+E873
csymMajorSeventh
Major seventh
U+E875
csymParensLeftTall
Double-height left parenthesis
U+E877
csymBracketLeftTall
Double-height left bracket
csymBracketRightTall
Double-height right bracket
These symbols are designed to combine with accidental symbols (accidentalSharp
and accidentalFlat) from the music font and the letters AG (for root and bass
alterations), lower case letters (for chord qualities, e.g. maj and min) and numbers
(for chord extensions or tensions) from any standard text font to produce complete
chord symbols.
Scoring applications should be able to create strings with complex formatting, e.g.
superscript and subscript characters, small digits stacked on top of each other, and
scale these symbols to any arbitrary size in order to produce satisfactory chord
symbols with a wide variety of visual appearances.
210
Tuplets (U+E880U+E88F)
Tuplets (U+E880 U+E88F)
U+E880
tuplet0
Tuplet 0
U+E882
tuplet2
Tuplet 2
U+E884
tuplet4
Tuplet 4
U+E886
tuplet6
Tuplet 6
U+E888
tuplet8
Tuplet 8
U+E88A
U+E881
tuplet1
Tuplet 1
U+E883
tuplet3
Tuplet 3
U+E885
tuplet5
Tuplet 5
U+E887
tuplet7
Tuplet 7
U+E889
tuplet9
Tuplet 9
tupletColon
Tuplet colon
This range provides glyphs for tuplet numbers. These digits may also be used in
ligatures with clefs to indicate the interval by which a transposing instrument
transposes, used in some scores in C.
Scoring applications should use primitives to draw tuplet brackets.
Simple triplets (including brackets) can be written in fonts intended for use in textbased applications using the glyphs in the Beamed groups of notes range.
211
Conductor symbols (U+E890U+E89F)
Conductor symbols (U+E890 U+E89F)
U+E890
conductorStrongBeat
Strong beat or cue
U+E892
conductorRightBeat
Right-hand beat or cue
U+E894
conductorBeat2Simple
Beat 2, simple time
U+E896
Beat 4, simple time
U+E898
conductorBeat3Compound
Beat 3, compound time
212
U+E891
conductorLeftBeat
Left-hand beat or cue
U+E893
conductorWeakBeat
Weak beat or cue
U+E895
Beat 3, simple time
U+E897
U+E899
Accordion (U+E8A0U+E8DF)
Accordion (U+E8A0 U+E8DF)
U+E8A0
accdnRH3RanksPiccolo
Right hand, 3 ranks, 4' stop (piccolo)
U+E8A2
accdnRH3RanksUpperTremolo8
Right hand, 3 ranks, upper tremolo 8'
stop
U+E8A4
accdnRH3RanksBassoon
Right hand, 3 ranks, 16' stop (bassoon)
U+E8A6
accdnRH3RanksViolin
Right hand, 3 ranks, 8' stop + upper
tremolo 8' stop (violin)
U+E8A8
accdnRH3RanksAuthenticMusette
Right hand, 3 ranks, lower tremolo 8'
stop + 8' stop + upper tremolo 8' stop
(authentic musette)
U+E8AA
accdnRH3RanksHarmonium
Right hand, 3 ranks, 4' stop + 8' stop +
16' stop (harmonium)
U+E8AC
accdnRH3RanksAccordion
Right hand, 3 ranks, 8' stop + upper
tremolo 8' stop + 16' stop (accordion)
U+E8AE
accdnRH3RanksTwoChoirs
stop + upper tremolo 8' stop
U+E8B0
accdnRH3RanksTremoloUpper8ve
Right hand, 3 ranks, 4' stop + lower
tremolo 8' stop + upper tremolo 8' stop
213
U+E8A1
accdnRH3RanksClarinet
Right hand, 3 ranks, 8' stop (clarinet)
U+E8A3
accdnRH3RanksLowerTremolo8
stop
U+E8A5
accdnRH3RanksOboe
Right hand, 3 ranks, 4' stop + 8' stop
(oboe)
U+E8A7
accdnRH3RanksImitationMusette
Right hand, 3 ranks, 4' stop + 8' stop +
upper tremolo 8' stop (imitation
musette)
U+E8A9
accdnRH3RanksOrgan
(organ)
U+E8AB
accdnRH3RanksBandoneon
(bandonen)
U+E8AD
accdnRH3RanksMaster
tremolo 8' stop + upper tremolo 8' stop
+ 16' stop (master)
U+E8AF
accdnRH3RanksTremoloLower8ve
stop + upper tremolo 8' stop + 16' stop
U+E8B1
accdnRH3RanksDoubleTremoloLower8ve
stop + 8' stop + upper tremolo 8' stop
+ 16' stop
U+E8B2
accdnRH3RanksDoubleTremoloUpper8ve
tremolo 8' stop + 8' stop + upper
tremolo 8' stop
U+E8B4
accdnRH4RanksSoprano
Right hand, 4 ranks, soprano
U+E8B6
accdnRH4RanksTenor
Right hand, 4 ranks, tenor
U+E8B8
accdnRH4RanksSoftBass
Right hand, 4 ranks, soft bass
U+E8BA
accdnRH4RanksBassAlto
Right hand, 4 ranks, bass/alto
U+E8BC
accdnLH2Ranks16Round
Left hand, 2 ranks, 16' stop (round)
U+E8BE
accdnLH2RanksMasterRound
Left hand, 2 ranks, master (round)
U+E8C0
accdnLH2RanksFullMasterRound
Left hand, 2 ranks, full master (round)
U+E8C2
accdnLH3Ranks2Square
Left hand, 3 ranks, 2' stop (square)
214
U+E8B3
accdnRH3RanksFullFactory
tremolo 8' stop + 8' stop + upper
tremolo 8' stop + 16' stop
U+E8B5
accdnRH4RanksAlto
Right hand, 4 ranks, alto
U+E8B7
accdnRH4RanksMaster
Right hand, 4 ranks, master
U+E8B9
accdnRH4RanksSoftTenor
Right hand, 4 ranks, soft tenor
U+E8BB
accdnLH2Ranks8Round
Left hand, 2 ranks, 8' stop (round)
U+E8BD
accdnLH2Ranks8Plus16Round
Left hand, 2 ranks, 8' stop + 16' stop
(round)
U+E8BF
accdnLH2RanksMasterPlus16Round
Left hand, 2 ranks, master + 16' stop
(round)
U+E8C1
accdnLH3Ranks8Square
Left hand, 3 ranks, 8' stop (square)
U+E8C3
accdnLH3RanksDouble8Square
Left hand, 3 ranks, double 8' stop
(square)
U+E8C4
accdnLH3Ranks2Plus8Square
Left hand, 3 ranks, 2' stop + 8' stop
(square)
U+E8C6
accdnCombRH3RanksEmpty
Combining right hand, 3 ranks, empty
U+E8C8
accdnCombLH2RanksEmpty
Combining left hand, 2 ranks, empty
U+E8CA
accdnCombDot
Combining accordion coupler dot
U+E8CC
accdnPull
Pull
U+E8CE
accdnRicochet3
Ricochet (3 tones)
U+E8D0
accdnRicochet5
Ricochet (5 tones)
U+E8D2
accdnRicochetStem2
Combining ricochet for stem (2 tones)
U+E8D4
accdnRicochetStem4
215
U+E8C5
accdnLH3RanksTuttiSquare
Left hand, 3 ranks, 2' stop + double 8'
stop (tutti) (square)
U+E8C7
accdnCombRH4RanksEmpty
Combining right hand, 4 ranks, empty
U+E8C9
accdnCombLH3RanksEmptySquare
Combining left hand, 3 ranks, empty
(square)
U+E8CB
accdnPush
Push
U+E8CD
accdnRicochet2
Ricochet (2 tones)
U+E8CF
accdnRicochet4
Ricochet (4 tones)
U+E8D1
accdnRicochet6
Ricochet (6 tones)
U+E8D3
accdnRicochetStem3
U+E8D5
accdnRicochetStem5
U+E8D6
uniE8CB.salt01
accdnRicochetStem6

accdnPushAlt
Push (Draugsvoll & Hjsgaard)
216
Beams and slurs (U+E8E0U+E8EF)
Beams and slurs (U+E8E0 U+E8EF)
controlBeginBeam
Begin beam
controlEndBeam
End beam
controlBeginTie
Begin tie
controlEndTie
End tie
controlBeginSlur
Begin slur
controlEndSlur
End slur
controlBeginPhrase
Begin phrase
U+E8E7 (and U+1D17A)

controlEndPhrase
End phrase
These are format characters as defined in the Unicode Standard 20:

Extensive ligature-like beams are used frequently in musical notation between groups of notes
having short values. The practice is widespread and very predictable, so it is therefore amenable
to algorithmic handling. The format characters U+1D173 musical symbol begin beam and
U+1D174 musical symbol end beam can be used to indicate the extents of beam groupings. In
some exceptional cases, beams are left unclosed on one end. This status can be indicated with a
U+1D159 musical symbol null notehead character if no stem is to appear at the end of the beam.
Similarly, format characters have been provided for other connecting structures. The characters
U+1D175 musical symbol begin tie, U+1D176 musical symbol end tie, U+1D177 musical symbol
begin slur, U+1D178 musical symbol end slur, U+1D179 musical symbol begin phrase, and
U+1D17A musical symbol end phrase indicate the extent of these features. Like beaming, these
features are easily handled in an algorithmic fashion.
These pairs of characters modify the layout and grouping of notes and phrases in full musical
notation. When musical examples are written or rendered in plain text without special software,
the start/end format characters may be rendered as brackets or left uninterpreted. To the extent
possible, more sophisticated software that renders musical examples inline with natural-language
text might interpret them in their actual format control capacity, rendering slurs, beams, and so
forth, as appropriate.
Scoring applications may choose to implement these format characters for beams,
slurs, phrase marks and ties or not, as they wish.
20
Ibid., Allen, page 537.
217
Medieval and Renaissance staves (U+E8F0U+E8FF)
Medieval and Renaissance staves (U+E8F0

U+E8FF)
U+E8F0
chantStaff
Plainchant staff
U+E8F2
chantStaffNarrow
Plainchant staff (narrow)
U+E8F4
chantDivisioMaior
Divisio maior
U+E8F6
chantDivisioFinalis
Divisio finalis
U+E8F8
chantCaesura
Caesura
218
U+E8F1
chantStaffWide
Plainchant staff (wide)
U+E8F3
chantDivisioMinima
Divisio minima
U+E8F5
chantDivisioMaxima
Divisio maxima
U+E8F7
chantVirgula
Virgula
Medieval and Renaissance clefs (U+E900U+E90F)
Medieval and Renaissance clefs (U+E900

U+E90F)
U+E900
mensuralGclef
Mensural G clef
U+E902 (and U+1D1D1)
chantFclef
Plainchant F clef
U+E904
mensuralFclefPetrucci
Petrucci F clef
chantCclef
Plainchant C clef
U+E908
mensuralCclefPetrucciPosLow
Petrucci C clef, low position
U+E90A
uniE902.salt01
mensuralCclefPetrucciPosHigh
Petrucci C clef, high position
chantFclefHufnagel
Plainchant F clef (Hufnagel)
uniE905.salt02
Black mensural C clef
219
mensuralGclefPetrucci
Petrucci G clef
U+E903
mensuralFclef
Mensural F clef
U+E905
mensuralCclef
Mensural C clef
U+E907
mensuralCclefPetrucciPosLowest
Petrucci C clef, lowest position
U+E909
mensuralCclefPetrucciPosMiddle
Petrucci C clef, middle position
U+E90B
uniE905.salt01
mensuralCclefBlack
U+E901
mensuralCclefPetrucciPosHighest
Petrucci C clef, highest position
mensuralCclefVoid
Void mensural C clef
uniE906.salt01
chantCclefHufnagel
Plainchant C clef (Hufnagel)
Medieval and Renaissance prolations (U+E910U+E92F)
Medieval and Renaissance prolations (U+E910

U+E92F)
U+E910 (and U+1D1C7)
mensuralProlation1
Tempus perfectum cum prolatione
perfecta (9/8)
mensuralProlation3
imperfecta diminution 1 (3/8)
U+E914 (and U+1D1CA)
mensuralProlation5
Tempus imperfectum cum prolatione
perfecta (6/8)
U+E916 (and U+1D1CC)
mensuralProlation7
U+E918 (and U+1D1CD)
mensuralProlation9
U+E91A
mensuralProlation11
imperfecta diminution 5
U+E91C
mensuralProportionProportioDupla1
Proportio dupla 1
U+E91E
mensuralProportionProportioTripla
Proportio tripla
220

mensuralProlation2
imperfecta (3/4)
U+E913
mensuralProlation4
perfecta diminution 2 (9/16)
U+E915 (and U+1D1CB)
mensuralProlation6
imperfecta (2/4)
U+E917
mensuralProlation8
U+E919 (and U+1D1CE)
mensuralProlation10
imperfecta diminution 4
U+E91B
mensuralProportionTempusPerfectum
Tempus perfectum
U+E91D
mensuralProportionProportioDupla2
Proportio dupla 2
U+E91F
mensuralProportionProportioQuadrupla
Proportio quadrupla
Medieval and Renaissance prolations (U+E910U+E92F)
U+E920
mensuralProlationCombiningDot
Combining dot
U+E922
mensuralProlationCombiningThreeDots
Combining three dots horizontal
U+E924
mensuralProlationCombiningDotVoid
Combining void dot
U+E926
mensuralProportion1
Mensural proportion 1
U+E928
mensuralProportion3
U+E92A
mensuralProportionMinor
Mensural proportion minor
U+E92C
mensuralModusPerfectumVert
Modus perfectum, vertical
U+E92E
mensuralTempusPerfectumHoriz
Tempus perfectum, horizontal
uniE929.salt01
mensuralProportion4Old
Mensural proportion 4 (old)
221
U+E921
mensuralProlationCombiningTwoDots
Combining two dots
U+E923
mensuralProlationCombiningThreeDotsTri
Combining three dots triangular
U+E925
mensuralProlationCombiningStroke
Combining vertical stroke
U+E927
mensuralProportion2
U+E929
mensuralProportion4
U+E92B
mensuralProportionMajor
Mensural proportion major
U+E92D
mensuralModusImperfectumVert
Modus imperfectum, vertical
U+E92F
mensuralTempusImperfectumHoriz
Tempus imperfectum, horizontal
Medieval and Renaissance noteheads and stems (U+E930U+E94F)
Medieval and Renaissance noteheads and stems

(U+E930 U+E94F)
U+E930
mensuralNoteheadMaximaBlack
Maxima notehead, black
U+E932
mensuralNoteheadMaximaBlackVoid
Maxima notehead, black and void
U+E934
mensuralNoteheadLongaBlack
Longa/brevis notehead, black
U+E936
mensuralNoteheadLongaBlackVoid
Longa/brevis notehead, black and void
U+E938 (and U+1D1BA)
mensuralNoteheadSemibrevisBlack
Semibrevis notehead, black
U+E93A
mensuralNoteheadSemibrevisBlackVoid
Semibrevis notehead, black and void
U+E93C
mensuralNoteheadMinimaWhite
Minima notehead, white
U+E93E
mensuralCombStemUp
Combining stem up
222

mensuralNoteheadMaximaVoid
Maxima notehead, void
U+E933
mensuralNoteheadMaximaWhite
Maxima notehead, white

mensuralNoteheadLongaVoid
Longa/brevis notehead, void
U+E937
mensuralNoteheadLongaWhite
Longa/brevis notehead, white

mensuralNoteheadSemibrevisVoid
Semibrevis notehead, void
U+E93B
mensuralNoteheadSemibrevisBlackVoidTurned
Semibrevis notehead, black and void
(turned)
U+E93D
mensuralNoteheadSemiminimaWhite
Semiminima/fusa notehead, white
U+E93F
mensuralCombStemDown
Combining stem down
U+E940
mensuralCombStemDiagonal
Combining stem diagonal
U+E942
mensuralCombStemDownFlagRight
Combining stem with flag right down
U+E944
mensuralCombStemDownFlagLeft
Combining stem with flag left down
U+E946
mensuralCombStemDownFlagFlared
Combining stem with flared flag down
U+E948
mensuralCombStemDownFlagExtended
Combining stem with extended flag
down
U+E94A
mensuralCombStemDownFlagSemiminima
Combining stem with semiminima flag
down
U+E94C
U+E941
mensuralCombStemUpFlagRight
Combining stem with flag right up
U+E943
mensuralCombStemUpFlagLeft
Combining stem with flag left up
U+E945
mensuralCombStemUpFlagFlared
Combining stem with flared flag up
U+E947
mensuralCombStemUpFlagExtended
Combining stem with extended flag up
U+E949
mensuralCombStemUpFlagSemiminima
Combining stem with semiminima flag
up
U+E94B
mensuralCombStemUpFlagFusa
Combining stem with fusa flag up
mensuralCombStemDownFlagFusa
Combining stem with fusa flag down
uniE938_uniE94C
mensuralFusaBlackStemDown
Fusa black, stem down
uniE93A_uniE94C
mensuralFusaBlackVoidStemDown
Fusa black and void, stem down
223
uniE938_uniE94B
mensuralFusaBlackStemUp
Fusa black, stem up
uniE93A_uniE94B
mensuralFusaBlackVoidStemUp
Fusa black and void, stem up
uniE939_uniE94C
mensuralFusaVoidStemDown
Fusa void, stem down
uniE93F_uniE934
mensuralLongaBlackStemDownLeft
Longa black, stem down left
uniE93E_uniE934
mensuralLongaBlackStemUpLeft
Longa black, stem up left
uniE93F_uniE936
mensuralLongaBlackVoidStemDownLeft
Longa black and void, stem down left
uniE93E_uniE936
mensuralLongaBlackVoidStemUpLeft
Longa black and void, stem up left
uniE93F_uniE935
mensuralLongaVoidStemDownLeft
Longa void, stem down left
uniE93E_uniE935
mensuralLongaVoidStemUpLeft
Longa void, stem up left
uniE93F_uniE930
mensuralMaximaBlackStemDownLeft
Maxima black, stem down left
uniE93E_uniE930
mensuralMaximaBlackStemUpLeft
Maxima black, stem up left
224
uniE939_uniE94B
mensuralFusaVoidStemUp
Fusa void, stem up
uniE934_uniE93F
mensuralLongaBlackStemDownRight
Longa black, stem down right
uniE934_uniE93E
mensuralLongaBlackStemUpRight
Longa black, stem up right
uniE936_uniE93F
mensuralLongaBlackVoidStemDownRight
Longa black and void, stem down right
uniE936_uniE93E
mensuralLongaBlackVoidStemUpRight
Longa black and void, stem up right
uniE935_uniE93F
mensuralLongaVoidStemDownRight
Longa void, stem down right
uniE935_uniE93E
mensuralLongaVoidStemUpRight
Longa void, stem up right
uniE930_uniE93F
mensuralMaximaBlackStemDownRight
Maxima black, stem down right
uniE930_uniE93E
mensuralMaximaBlackStemUpRight
Maxima black, stem up right
uniE93F_uniE932
mensuralMaximaBlackVoidStemDownLeft
Maxima black and void, stem down left
uniE93E_uniE932
mensuralMaximaBlackVoidStemUpLeft
Maxima black and void, stem up left
uniE93F_uniE931
mensuralMaximaVoidStemDownLeft
Maxima void, stem down left
uniE93E_uniE931
mensuralMaximaVoidStemUpLeft
Maxima void, stem up left
uniE938_uniE93F
mensuralMinimaBlackStemDown
Minima black, stem down
uniE938_uniE944
mensuralMinimaBlackStemDownFlagLeft
Minima black, stem down with flag left
uniE938_uniE946
mensuralMinimaBlackStemDownFlaredFlag
Minima black, stem down with flared
flag
uniE938_uniE947
mensuralMinimaBlackStemUpExtendedFlag
Minima black, stem up with extended
flag
uniE938_uniE941
mensuralMinimaBlackStemUpFlagRight
Minima black, stem up with flag right
225
uniE932_uniE93F
mensuralMaximaBlackVoidStemDownRight
Maxima black and void, stem down right
uniE932_uniE93E
mensuralMaximaBlackVoidStemUpRight
Maxima black and void, stem up right
uniE931_uniE93F
mensuralMaximaVoidStemDownRight
Maxima void, stem down right
uniE931_uniE93E
mensuralMaximaVoidStemUpRight
Maxima void, stem up right
uniE938_uniE948
mensuralMinimaBlackStemDownExtendedFlag
Minima black, stem down with extended
flag
uniE938_uniE942
mensuralMinimaBlackStemDownFlagRight
Minima black, stem down with flag right
uniE938_uniE93E
mensuralMinimaBlackStemUp
Minima black, stem up
uniE938_uniE943
mensuralMinimaBlackStemUpFlagLeft
Minima black, stem up with flag left
uniE938_uniE945
mensuralMinimaBlackStemUpFlaredFlag
Minima black, stem up with flared flag
uniE93A_uniE93F
mensuralMinimaBlackVoidStemDown
Minima black and void, stem down
uniE93A_uniE944
mensuralMinimaBlackVoidStemDownFlagLeft
Minima black and void, stem down with
flag left
uniE93A_uniE946
mensuralMinimaBlackVoidStemDownFlaredFlag
flared flag
uniE93A_uniE947
mensuralMinimaBlackVoidStemUpExtendedFlag
Minima black and void, stem up with
extended flag
uniE93A_uniE941
mensuralMinimaBlackVoidStemUpFlagRight
flag right
uniE939_uniE93F
mensuralMinimaVoidStemDown
Minima void, stem down
uniE939_uniE944
mensuralMinimaVoidStemDownFlagLeft
Minima void, stem down with flag left
uniE939_uniE946
mensuralMinimaVoidStemDownFlaredFlag
Minima void, stem down with flared
flag
uniE939_uniE93E
mensuralMinimaVoidStemUp
Minima void, stem up
226
uniE93A_uniE948
mensuralMinimaBlackVoidStemDownExtendedFlag
extended flag
uniE93A_uniE942
mensuralMinimaBlackVoidStemDownFlagRight
flag right
uniE93A_uniE93E
mensuralMinimaBlackVoidStemUp
Minima black and void, stem up
uniE93A_uniE943
mensuralMinimaBlackVoidStemUpFlagLeft
Minima black and void, stem up with flag
left
uniE93A_uniE945
mensuralMinimaBlackVoidStemUpFlaredFlag
flared flag
uniE939_uniE948
mensuralMinimaVoidStemDownExtendedFlag
Minima void, stem down with extended
flag
uniE939_uniE942
mensuralMinimaVoidStemDownFlagRight
Minima void, stem down with flag right
uniE939_uniE947
mensuralMinimaVoidStemUpExtendedFlag
Minima void, stem up with extended flag
uniE939_uniE943
mensuralMinimaVoidStemUpFlagLeft
Minima void, stem up with flag left
uniE939_uniE941
mensuralMinimaVoidStemUpFlagRight
Minima void, stem up with flag right
uniE938_uniE94A
mensuralSemiminimaBlackStemDown
Semiminima black, stem down
uniE93A_uniE94A
mensuralSemiminimaBlackVoidStemDown
Semiminima black and void, stem
down
uniE939_uniE94A
mensuralSemiminimaVoidStemDown
Semiminima void, stem down
227
uniE939_uniE945
mensuralMinimaVoidStemUpFlaredFlag
Minima void, stem up with flared flag
uniE938_uniE949
mensuralSemiminimaBlackStemUp
Semiminima black, stem up
uniE93A_uniE949
mensuralSemiminimaBlackVoidStemUp
Semiminima black and void, stem up
uniE939_uniE949
mensuralSemiminimaVoidStemUp
Semiminima void, stem up
Medieval and Renaissance individual notes (U+E950U+E96F)
Medieval and Renaissance individual notes

(U+E950 U+E96F)
U+E950
mensuralBlackMaxima
Black mensural maxima
U+E952
mensuralBlackBrevis
Black mensural brevis
U+E954 (and U+1D1BC)
mensuralBlackMinima
Black mensural minima
U+E956
mensuralBlackBrevisVoid
Black mensural void brevis
U+E958 (and U+1D1BB)
mensuralBlackMinimaVoid
Black mensural void minima
U+E95A
mensuralBlackDragma
Black mensural dragma
U+E95C (and U+1D1B6)
mensuralWhiteMaxima
White mensural maxima
U+E95E (and U+1D1B8)
mensuralWhiteBrevis
White mensural brevis
228
U+E951
mensuralBlackLonga
Black mensural longa
U+E953 (and U+1D1BA)

mensuralBlackSemibrevis
Black mensural semibrevis
U+E955
mensuralBlackSemiminima
Black mensural semiminima

mensuralBlackSemibrevisVoid
Black mensural void semibrevis
U+E959
mensuralBlackSemibrevisCaudata
Black mensural semibrevis caudata
U+E95B
mensuralBlackSemibrevisOblique
Black mensural oblique semibrevis
U+E95D (and U+1D1B7)

mensuralWhiteLonga
White mensural longa
U+E95F
mensuralWhiteMinima
White mensural minima
Medieval and Renaissance individual notes (U+E950U+E96F)
U+E960 (and U+1D1BC)
mensuralWhiteSemiminima
White mensural semiminima
229
U+E961 (and U+1D1BE)

mensuralWhiteFusa
White mensural fusa
Medieval and Renaissance oblique forms (U+E970U+E98F)
Medieval and Renaissance oblique forms

(U+E970 U+E98F)
U+E970
mensuralObliqueAsc2ndBlack
Oblique form, ascending 2nd, black
U+E972
mensuralObliqueAsc2ndBlackVoid
Oblique form, ascending 2nd, black
and void
U+E974
mensuralObliqueAsc3rdBlack
Oblique form, ascending 3rd, black
U+E976
mensuralObliqueAsc3rdBlackVoid
Oblique form, ascending 3rd, black
and void
U+E978
mensuralObliqueAsc4thBlack
Oblique form, ascending 4th, black
U+E97A
mensuralObliqueAsc4thBlackVoid
Oblique form, ascending 4th, black and
void
U+E97C
mensuralObliqueAsc5thBlack
Oblique form, ascending 5th, black
U+E97E
mensuralObliqueAsc5thBlackVoid
Oblique form, ascending 5th, black and
void
230
U+E971
mensuralObliqueAsc2ndVoid
Oblique form, ascending 2nd, void
U+E973
mensuralObliqueAsc2ndWhite
Oblique form, ascending 2nd, white
U+E975
mensuralObliqueAsc3rdVoid
Oblique form, ascending 3rd, void
U+E977
mensuralObliqueAsc3rdWhite
Oblique form, ascending 3rd, white
U+E979
mensuralObliqueAsc4thVoid
Oblique form, ascending 4th, void
U+E97B
mensuralObliqueAsc4thWhite
Oblique form, ascending 4th, white
U+E97D
mensuralObliqueAsc5thVoid
Oblique form, ascending 5th, void
U+E97F
mensuralObliqueAsc5thWhite
Oblique form, ascending 5th, white
Medieval and Renaissance oblique forms (U+E970U+E98F)
U+E980
mensuralObliqueDesc2ndBlack
Oblique form, descending 2nd, black
U+E982
mensuralObliqueDesc2ndBlackVoid
Oblique form, descending 2nd, black
and void
U+E984
mensuralObliqueDesc3rdBlack
Oblique form, descending 3rd, black
U+E986
mensuralObliqueDesc3rdBlackVoid
Oblique form, descending 3rd, black
and void
U+E988
mensuralObliqueDesc4thBlack
Oblique form, descending 4th, black
U+E98A
mensuralObliqueDesc4thBlackVoid
and void
U+E98C
mensuralObliqueDesc5thBlack
U+E98E
mensuralObliqueDesc5thBlackVoid
and void
231
U+E981
mensuralObliqueDesc2ndVoid
Oblique form, descending 2nd, void
U+E983
mensuralObliqueDesc2ndWhite
Oblique form, descending 2nd, white
U+E985
mensuralObliqueDesc3rdVoid
Oblique form, descending 3rd, void
U+E987
mensuralObliqueDesc3rdWhite
Oblique form, descending 3rd, white
U+E989
mensuralObliqueDesc4thVoid
Oblique form, descending 4th, void
U+E98B
mensuralObliqueDesc4thWhite
Oblique form, descending 4th, white
U+E98D
mensuralObliqueDesc5thVoid
Oblique form, descending 5th, void
U+E98F
mensuralObliqueDesc5thWhite
Oblique form, descending 5th, white
Medieval and Renaissance plainchant single-note forms (U+E990U+E9AF)
Medieval and Renaissance plainchant single-note

forms (U+E990 U+E9AF)
U+E990
chantPunctum
Punctum
U+E992
chantPunctumInclinatumAuctum
Punctum inclinatum auctum
U+E994
chantAuctumAsc
Punctum auctum, ascending
chantPunctumVirga
Punctum virga
U+E998
chantPunctumCavum
Punctum cavum
U+E99A
chantPunctumLineaCavum
Punctum linea cavum
U+E99C
chantOriscusAscending
Oriscus ascending
U+E99E
chantOriscusLiquescens
Oriscus liquescens
232
U+E991
chantPunctumInclinatum
Punctum inclinatum
U+E993
chantPunctumInclinatumDeminutum
Punctum inclinatum deminutum
U+E995
chantAuctumDesc
Punctum auctum, descending
U+E997
chantPunctumVirgaReversed
Punctum virga, reversed
U+E999
chantPunctumLinea
Punctum linea
U+E99B
chantQuilisma
Quilisma
U+E99D
chantOriscusDescending
Oriscus descending
U+E99F
chantStrophicus
Strophicus
Medieval and Renaissance plainchant single-note forms (U+E990U+E9AF)
U+E9A0
chantStrophicusAuctus
Strophicus auctus
233
U+E9A1
chantPunctumDeminutum
Punctum deminutum
Medieval and Renaissance plainchant multiple-note forms (U+E9B0U+E9CF)
Medieval and Renaissance plainchant multiplenote forms (U+E9B0 U+E9CF)
U+E9B0
chantPodatusLower
Podatus, lower
U+E9B2
chantDeminutumUpper
Punctum deminutum, upper
U+E9B4
chantEntryLineAsc2nd
Entry line, ascending 2nd
U+E9B6
chantEntryLineAsc4th
Entry line, ascending 4th
U+E9B8
U+E9BA
chantLigaturaDesc3rd
Ligated stroke, descending 3rd
U+E9BC
chantLigaturaDesc5th
Ligated stroke, descending 5th
U+E9BE
chantConnectingLineAsc3rd
Connecting line, ascending 3rd
234
U+E9B1 (and U+1D1D4)

chantPodatusUpper
Podatus, upper
U+E9B3
chantDeminutumLower
Punctum deminutum, lower
U+E9B5
chantEntryLineAsc3rd
Entry line, ascending 3rd
U+E9B7
U+E9B9
chantLigaturaDesc2nd
Ligated stroke, descending 2nd
U+E9BB
chantLigaturaDesc4th
Ligated stroke, descending 4th
U+E9BD
chantConnectingLineAsc2nd
Connecting line, ascending 2nd
U+E9BF
chantConnectingLineAsc4th
Connecting line, ascending 4th
U+E9C0
U+E9C2
chantStrophicusLiquescens2nd
Strophicus liquescens, 2nd
U+E9C4
chantStrophicusLiquescens4th
Strophicus liquescens, 4th
U+E9C1
U+E9C3
chantStrophicusLiquescens3rd
Strophicus liquescens, 3rd
U+E9C5
chantStrophicusLiquescens5th
Strophicus liquescens, 5th
To produce ligatures of three or more notes, some of the glyphs in this range have to
be combined.
Glyphs should be positioned relative to their starting pitch: for example, the
chantLigaturaDesc3rd glyph, which describes a downwards progression by an interval
of a third, should be positioned on the staff line or space of the starting note of the
downwards pattern; the connecting lines (e.g. chantConnectingLineAsc3rd) should
likewise be positioned on the staff line or space corresponding to the bottom of the
line; for an ascending liquescent, position chantAuctumAsc on the starting staff
position, and chantDeminutemUpper on the ending staff position, with the
appropriate length of connecting line between them.
Scoring applications should position these glyphs like any other notehead, i.e. moving
them vertically according to the desired starting staff position. Fonts intended for use
in text-based applications should include glyphs that present these symbols at
different staff positions, and a means to easily choose between them; one possible
implementation would be to define OpenType ligatures of each of the glyphs in the
Combining staff positions range with each of the glyphs in this range.
The table below shows how to produce some common ligatures, and describes which
glyphs should be used; glyphs whose names appear in parentheses are control
characters that move the following glyph vertically to a different staff position, as might
be used in a font that employs OpenType ligatures.
Podatus, ascending 3rd: chantPodatusLower + chantConnectingLineAsc3rd + (staffPosRaise3)
+ chantPodatusUpper
235
Clivis, descending 4th: chantPunctumVirgaReversed + (staffPosLower4)

chantConnectingLineAsc4th + (staffPosLower4) + chantPunctum
Salicus: chantPunctum + (staffPosRaise1) + chantPodatusLower + (staffPosRaise1) +

chantConnectingLineAsc2nd + (staffPosRaise2) + chantPodatusUpper
Climacus: chantPunctumVirga + (staffPosLower1) + chantPunctumInclinatum +
(staffPosLower2) + chantPunctumInclinatum
Torculus: chantPunctum + (staffPosRaise1) + chantPunctum + chantPunctum
Porrectus: chantEntryLineAsc5th + (staffPosRaise5) + chantLigaturaDesc4th + (staffPosRaise1)

+ chantConnectingLineAsc3rd + (staffPosRaise4) + chantPunctum
Scandicus flexus: chantPodatusLower + (staffPosRaise1) + chantConnectingLineAsc2nd +

(staffPosRaise2) + chantPodatusUpper + chantPunctumVirga + chantConnectingLineAsc3rd +
chantPunctum
Porrectus flexus: chantConnectingLineAsc3rd + (staffPosRaise3) + chantLigaturaDesc3rd +
chantPunctumVirga + chantConnectingLineAsc3rd + chantPunctum
Climacus resupinus: chantPunctumVirga + (staffPosRaise1) + chantPunctumInclinatum +
chantPunctumInclinatum + (staffPosRaise1) + chantPunctum
Torculus resupinus: chantPunctum + (staffPosRaise1) + chantPunctum + chantPunctum +
(staffPosRaise1) + chantPunctumVirga
Pes subbipunctus: chantPodatusLower + (staffPosRaise1) + chantConnectingLineAsc2nd +

(staffPosRaise2) + chantPodatusUpper + chantPunctumInclinatum + (staffPosLower1) +
chantPunctumInclinatum
Virga praetripunctis: chantPodatusLower + (staffPosRaise1) + chantConnectingLineAsc3rd +
(staffPosRaise3) + chantPodatusUpper chantPodatus3rd + (staffPosRaise4) +
chantPodatusLower + (staffPosRaise5) + chantConnectingLineAsc2nd + (staffPosRaise6) +
chantPodatusUpper
Epiphonus (liquescent podatus): chantAuctumAsc + (staffPosRaise1) + chantDeminutemUpper
Cephalicus (liquescent flexa): chantConnectingLineAsc3rd + (staffPosRaise3) +

chantAuctumDesc + (staffPosRaise2) + chantDeminutemLower
Pinnosa (liquescent torculus): chantPunctum + chantConnectingLineAsc4th + (staffPosRaise4) +
chantAuctumDesc + (staffPosRaise3) + chantDeminutemLower
236
Porrectus liquescens: chantPunctumVirgaReversed + (staffPosLower1) + chantAuctumAsc +

(staffPosRaise1) + chantDeminutemUpper
Scandicus liquescens: chantPunctum + (staffPosRaise1) + chantAuctumAsc + + (staffPosRaise1)
+ chantConnectingLineAsc3rd + (staffPosRaise4) + chantDeminutemUpper
237
Medieval and Renaissance plainchant articulations (U+E9D0U+E9DF)
Medieval and Renaissance plainchant

articulations (U+E9D0 U+E9DF)
U+E9D0
chantIctusAbove
Ictus above
U+E9D2
chantCirculusAbove
Circulus above
U+E9D4
chantSemicirculusAbove
Semicirculus above
U+E9D6
chantAccentusAbove
Accentus above
U+E9D8
chantEpisema
Episema
238
U+E9D1
chantIctusBelow
Ictus below
U+E9D3
chantCirculusBelow
Circulus below
U+E9D5
chantSemicirculusBelow
Semicirculus below
U+E9D7
chantAccentusBelow
Accentus below
U+E9D9
chantAugmentum
Augmentum (mora)
Medieval and Renaissance accidentals (U+E9E0U+E9EF)
Medieval and Renaissance accidentals (U+E9E0

U+E9EF)
U+E9E0 (and U+1D1D2)
medRenFlatSoftB
Flat, soft b (fa)
U+E9E2
medRenNatural
Natural
U+E9E4
uniE9E0.salt01
medRenFlatWithDot
Flat with dot

medRenFlatSoftBOld
Flat (old)
239
U+E9E1
medRenFlatHardB
Flat, hard b (mi)
U+E9E3 (and U+1D1CF)

medRenSharpCroix
Croix
U+E9E5
uniE9E0.salt02
medRenNaturalWithCross
Natural with interrupted cross
medRenFlatSoftBHufnagel
Flat (Hufnagel)
Medieval and Renaissance rests (U+E9F0U+E9FF)
Medieval and Renaissance rests (U+E9F0

U+E9FF)
U+E9F0
mensuralRestMaxima
Maxima rest
U+E9F2 (and U+1D1C2)
mensuralRestLongaImperfecta
Longa imperfecta rest
mensuralRestSemibrevis
Semibrevis rest
mensuralRestSemiminima
Semiminima rest
U+E9F8
mensuralRestSemifusa
Semifusa rest
240

mensuralRestLongaPerfecta
Longa perfecta rest

mensuralRestBrevis
Brevis rest

mensuralRestMinima
Minima rest
U+E9F7
mensuralRestFusa
Fusa rest
Medieval and Renaissance miscellany (U+EA00U+EA1F)
Medieval and Renaissance miscellany (U+EA00

U+EA1F)
U+EA00
mensuralSignumUp
Signum congruentiae up
U+EA02
mensuralCustosUp
Mensural custos up
U+EA04
chantCustosStemUpPosLowest
Plainchant custos, stem up, lowest
position
U+EA06
chantCustosStemUpPosMiddle
Plainchant custos, stem up, middle
position
U+EA08
chantCustosStemDownPosHigh
Plainchant custos, stem down, high
position
U+EA0A
mensuralCustosCheckmark
Checkmark custos
U+EA0C
mensuralColorationStartSquare
Coloration start, square
U+EA0E
mensuralColorationStartRound
Coloration start, round
241
U+EA01
mensuralSignumDown
Signum congruentiae down
U+EA03
mensuralCustosDown
Mensural custos down
U+EA05
chantCustosStemUpPosLow
Plainchant custos, stem up, low position
U+EA07
chantCustosStemDownPosMiddle
Plainchant custos, stem down, middle
position
U+EA09
chantCustosStemDownPosHighest
Plainchant custos, stem down, highest
position
U+EA0B
mensuralCustosTurn
Turn-like custos
U+EA0D
mensuralColorationEndSquare
Coloration end, square
U+EA0F
mensuralColorationEndRound
Coloration end, round
Medieval and Renaissance miscellany (U+EA00U+EA1F)
U+EA10
mensuralAlterationSign
Alteration sign
242
Medieval and Renaissance symbols in CMN (U+EA20U+EA2F)
Medieval and Renaissance symbols in CMN

(U+EA20 U+EA2F)
U+EA20
ornamentQuilisma
Quilisma
U+EA22
medRenLiquescenceCMN
Liquescence
U+EA24
medRenGClefCMN
G clef (Corpus Monodicum)
U+EA26
medRenLiquescentAscCMN
Liquescent ascending (Corpus
Monodicum)
U+EA28
medRenQuilismaCMN
Quilisma (Corpus Monodicum)
U+EA2A
medRenOriscusCMN
Oriscus (Corpus Monodicum)
243
U+EA21
ornamentOriscus
Oriscus
U+EA23
medRenPlicaCMN
Plica
U+EA25
medRenPunctumCMN
Punctum (Corpus Monodicum)
U+EA27
medRenLiquescentDescCMN
Liquescent descending (Corpus
Monodicum)
U+EA29
medRenStrophicusCMN
Strophicus (Corpus Monodicum)
Daseian notation (U+EA30U+EA4F)
Daseian notation (U+EA30 U+EA4F)
U+EA30
daseianGraves1
Daseian graves 1
U+EA32
daseianGraves3
Daseian graves 3
U+EA34
daseianFinales1
Daseian finales 1
U+EA36
daseianFinales3
Daseian finales 3
U+EA38
daseianSuperiores1
Daseian superiores 1
U+EA3A
daseianSuperiores3
U+EA3C
daseianExcellentes1
Daseian excellentes 1
U+EA3E
daseianExcellentes3
U+EA40
daseianResidua1
Daseian residua 1
244
U+EA31
daseianGraves2
Daseian graves 2
U+EA33
daseianGraves4
Daseian graves 4
U+EA35
daseianFinales2
Daseian finales 2
U+EA37
daseianFinales4
Daseian finales 4
U+EA39
daseianSuperiores2
U+EA3B
daseianSuperiores4
U+EA3D
daseianExcellentes2
U+EA3F
daseianExcellentes4
U+EA41
daseianResidua2
Daseian residua 2
Figured bass (U+EA50U+EA6F)
Figured bass (U+EA50 U+EA6F)
U+EA50
figbass0
Figured bass 0
U+EA52
figbass2
Figured bass 2
U+EA54
figbass3
Figured bass 3
U+EA56
figbass4Raised
Figured bass 4 raised by half-step
U+EA58
figbass5Raised1
U+EA5A
figbass5Raised3
Figured bass diminished 5
U+EA5C
figbass6Raised
U+EA5E
figbass7Raised1
U+EA60
figbass8
Figured bass 8
245
U+EA51
figbass1
Figured bass 1
U+EA53
figbass2Raised
U+EA55
figbass4
Figured bass 4
U+EA57
figbass5
Figured bass 5
U+EA59
figbass5Raised2
Figured bass 5 raised by half-step 2
U+EA5B
figbass6
Figured bass 6
U+EA5D
figbass7
Figured bass 7
U+EA5F
figbass7Raised2
Figured bass 7 raised by a half-step 2
U+EA61
figbass9
Figured bass 9
Figured bass (U+EA50U+EA6F)
U+EA62
figbass9Raised
U+EA64
figbassFlat
Figured bass flat
U+EA66
figbassSharp
Figured bass sharp
U+EA68
figbassBracketLeft
Figured bass [
U+EA6A
figbassParensLeft
Figured bass (
U+EA6C
figbassPlus
Figured bass +
U+EA6E
figbassCombiningLowering
Combining lower
246
U+EA63
figbassDoubleFlat
Figured bass double flat
U+EA65
figbassNatural
Figured bass natural
U+EA67
figbassDoubleSharp
Figured bass double sharp
U+EA69
figbassBracketRight
Figured bass ]
U+EA6B
figbassParensRight
Figured bass )
U+EA6D
figbassCombiningRaising
Combining raise
U+EA6F
figbass6Raised2
Figured bass 6 raised by half-step 2
Function theory symbols (U+EA70U+EA9F)
Function theory symbols (U+EA70 U+EA9F)
U+EA70
functionZero
Function theory 0
U+EA72
functionTwo
Function theory 2
U+EA74
functionFour
Function theory 4
U+EA76
functionSix
Function theory 6
U+EA78
functionEight
Function theory 8
U+EA7A
functionLessThan
Function theory less than
U+EA7C
functionGreaterThan
Function theory greater than
U+EA7E
functionSSLower
Function theory minor subdominant of
subdominant
U+EA80
functionDLower
Function theory minor dominant
247
U+EA71
functionOne
Function theory 1
U+EA73
functionThree
Function theory 3
U+EA75
functionFive
Function theory 5
U+EA77
functionSeven
Function theory 7
U+EA79
functionNine
Function theory 9
U+EA7B
functionMinus
Function theory minus
U+EA7D
functionSSUpper
Function theory major subdominant of
subdominant
U+EA7F
functionDUpper
Function theory major dominant
U+EA81
functionDD
Function theory dominant of dominant
U+EA82
functionSlashedDD
Function theory double dominant
seventh
U+EA84
functionGLower
Function theory g
U+EA86
functionNLower
Function theory n
U+EA88
functionPLower
Function theory p
U+EA8A
functionSLower
Function theory minor subdominant
U+EA8C
functionTLower
Function theory minor tonic
U+EA8E
functionVLower
Function theory v
U+EA90
functionBracketRight
Function theory bracket right
U+EA92
functionParensRight
Function theory parenthesis right
248
U+EA83
functionGUpper
Function theory G
U+EA85
functionNUpper
Function theory N
U+EA87
functionPUpper
Function theory P
U+EA89
functionSUpper
Function theory major subdominant
U+EA8B
functionTUpper
Function theory tonic
U+EA8D
functionVUpper
Function theory V
U+EA8F
functionBracketLeft
Function theory bracket left
U+EA91
functionParensLeft
Function theory parenthesis left
U+EA93
functionAngleLeft
Function theory angle bracket left
U+EA94
functionAngleRight
Function theory angle bracket right
U+EA96
functionRepetition2
Function theory repetition 2
U+EA98
functionPlus
Function theory prefix plus
249
U+EA95
functionRepetition1
Function theory repetition 1
U+EA97
functionRing
Function theory prefix ring
Multi-segment lines (U+EAA0U+EB0F)
Multi-segment lines (U+EAA0 U+EB0F)
U+EAA0
wiggleTrillFastest
Trill wiggle segment, fastest
U+EAA2
wiggleTrillFaster
Trill wiggle segment, faster
U+EAA4
wiggleTrill
Trill wiggle segment
U+EAA6
wiggleTrillSlower
Trill wiggle segment, slower
U+EAA8
wiggleTrillSlowest
Trill wiggle segment, slowest
U+EAAA
wiggleArpeggiatoDown
Arpeggiato wiggle segment,
downwards
U+EAAC
wiggleArpeggiatoDownSwash
Arpeggiato downward swash
U+EAAE
wiggleArpeggiatoDownArrow
Arpeggiato arrowhead down
U+EAB0
wiggleVibrato
Vibrato / shake wiggle segment
250
U+EAA1
wiggleTrillFasterStill
Trill wiggle segment, faster still
U+EAA3
wiggleTrillFast
Trill wiggle segment, fast
U+EAA5
wiggleTrillSlow
Trill wiggle segment, slow
U+EAA7
wiggleTrillSlowerStill
Trill wiggle segment, slower still
U+EAA9
wiggleArpeggiatoUp
Arpeggiato wiggle segment, upwards
U+EAAB
wiggleArpeggiatoUpSwash
Arpeggiato upward swash
U+EAAD
wiggleArpeggiatoUpArrow
Arpeggiato arrowhead up
U+EAAF
wiggleGlissando
Glissando wiggle segment
U+EAB1
wiggleVibratoWide
Wide vibrato / shake wiggle segment
U+EAB2
guitarVibratoStroke
Vibrato wiggle segment
U+EAB4
wiggleWavyNarrow
Narrow wavy line segment
U+EAB6
wiggleWavyWide
Wide wavy line segment
U+EAB8
wiggleSquareWave
Square wave line segment
U+EABA
wiggleSawtoothNarrow
Narrow sawtooth line segment
U+EABC
wiggleSawtoothWide
Wide sawtooth line segment
U+EABE
wiggleGlissandoGroup2
Group glissando 2
U+EAC0
wiggleCircularConstant
Constant circular motion segment
U+EAC2
wiggleCircularConstantLarge
(large)
251
U+EAB3
guitarWideVibratoStroke
Wide vibrato wiggle segment
U+EAB5
wiggleWavy
Wavy line segment
U+EAB7
wiggleSquareWaveNarrow
Narrow square wave line segment
U+EAB9
wiggleSquareWaveWide
Wide square wave line segment
U+EABB
wiggleSawtooth
Sawtooth line segment
U+EABD
Group glissando 1
U+EABF
Group glissando 3
U+EAC1
wiggleCircularConstantFlipped
(flipped)
U+EAC3
wiggleCircularConstantFlippedLarge
(flipped, large)
U+EAC4
wiggleCircularStart
Circular motion start
U+EAC6
wiggleCircularLargerStill
Circular motion segment, larger still
U+EAC8
wiggleCircularLarge
Circular motion segment, large
U+EACA
wiggleCircularSmall
Circular motion segment, small
U+EACC
wiggleVibratoStart
Vibrato start
U+EACE
wiggleVibratoSmallestFasterStill
Vibrato smallest, faster still
U+EAD0
wiggleVibratoSmallestFast
Vibrato smallest, fast
U+EAD2
wiggleVibratoSmallestSlower
Vibrato smallest, slower
U+EAD4
wiggleVibratoSmallFastest
Vibrato small, fastest
252
U+EAC5
wiggleCircularLargest
Circular motion segment, largest
U+EAC7
wiggleCircularLarger
Circular motion segment, larger
U+EAC9
wiggleCircular
Circular motion segment
U+EACB
wiggleCircularEnd
Circular motion end
U+EACD
wiggleVibratoSmallestFastest
Vibrato smallest, fastest
U+EACF
wiggleVibratoSmallestFaster
Vibrato smallest, faster
U+EAD1
wiggleVibratoSmallestSlow
Vibrato smallest, slow
U+EAD3
wiggleVibratoSmallestSlowest
Vibrato smallest, slowest
U+EAD5
wiggleVibratoSmallFasterStill
Vibrato small, faster still
U+EAD6
wiggleVibratoSmallFaster
Vibrato small, faster
U+EAD8
wiggleVibratoSmallSlow
Vibrato small, slow
U+EADA
wiggleVibratoSmallSlowest
Vibrato small, slowest
U+EADC
wiggleVibratoMediumFasterStill
Vibrato medium, faster still
U+EADE
wiggleVibratoMediumFast
Vibrato medium, fast
U+EAE0
wiggleVIbratoMediumSlower
Vibrato medium, slower
U+EAE2
wiggleVibratoLargeFastest
Vibrato large, fastest
U+EAE4
wiggleVibratoLargeFaster
Vibrato large, faster
U+EAE6
wiggleVibratoLargeSlow
Vibrato large, slow
253
U+EAD7
wiggleVibratoSmallFast
Vibrato small, fast
U+EAD9
wiggleVibratoSmallSlower
Vibrato small, slower
U+EADB
wiggleVibratoMediumFastest
Vibrato medium, fastest
U+EADD
wiggleVibratoMediumFaster
Vibrato medium, faster
U+EADF
wiggleVibratoMediumSlow
Vibrato medium, slow
U+EAE1
wiggleVibratoMediumSlowest
Vibrato medium, slowest
U+EAE3
wiggleVibratoLargeFasterStill
Vibrato large, faster still
U+EAE5
wiggleVibratoLargeFast
Vibrato large, fast
U+EAE7
wiggleVibratoLargeSlower
Vibrato large, slower
U+EAE8
wiggleVibratoLargeSlowest
Vibrato large, slowest
U+EAEA
wiggleVibratoLargestFasterStill
Vibrato largest, faster still
U+EAEC
wiggleVibratoLargestFast
Vibrato largest, fast
U+EAEE
wiggleVIbratoLargestSlower
Vibrato largest, slower
U+EAF0
wiggleRandom1
Quasi-random squiggle 1
U+EAF2
wiggleRandom3
U+EAF4
beamAccelRit1
Accel./rit. beam 1 (widest)
U+EAF6
beamAccelRit3
Accel./rit. beam 3
U+EAF8
beamAccelRit5
Accel./rit. beam 5
254
U+EAE9
wiggleVibratoLargestFastest
Vibrato largest, fastest
U+EAEB
wiggleVibratoLargestFaster
Vibrato largest, faster
U+EAED
wiggleVibratoLargestSlow
Vibrato largest, slow
U+EAEF
wiggleVibratoLargestSlowest
Vibrato largest, slowest
U+EAF1
wiggleRandom2
U+EAF3
wiggleRandom4
U+EAF5
beamAccelRit2
Accel./rit. beam 2
U+EAF7
beamAccelRit4
Accel./rit. beam 4
U+EAF9
beamAccelRit6
Accel./rit. beam 6
U+EAFA
beamAccelRit7
Accel./rit. beam 7
U+EAFC
beamAccelRit9
Accel./rit. beam 9
U+EAFE
beamAccelRit11
Accel./rit. beam 11
U+EB00
beamAccelRit13
Accel./rit. beam 13
U+EB02
beamAccelRit15
Accel./rit. beam 15 (narrowest)
U+EAFB
beamAccelRit8
Accel./rit. beam 8
U+EAFD
beamAccelRit10
Accel./rit. beam 10
U+EAFF
beamAccelRit12
Accel./rit. beam 12
U+EB01
beamAccelRit14
Accel./rit. beam 14
U+EB03
beamAccelRitFinal
Accel./rit. beam terminating line
Scoring applications can combine these glyphs to produce lines of varying lengths. By
way of example:
ornamentTrill + wiggleTrillFastest + wiggleTrillFasterStill +
wiggleTrillFaster + wiggleTrillFast + wiggleTrill + wiggleTrillSlower
+ wiggleTrillSlowerStill + wiggleTrill + wiggleTrillFaster +
wiggleTrillFasterStill
10 x wiggleWavy
10 x wiggleSawtooth
6 x wiggleSquaretooth
wiggleCircularStart + wiggleCircularLargest +
wiggleCircularLargerStill + wiggleCircularLarger +
wiggleCircularLarge + wiggleCircularEnd
wiggleVibratoStart + wiggleVibratoSmallestFastest +
wiggleVibratoMediumSlower + wiggleVibratoMediumSlowest +
wiggleVibratoMediumFaster + wiggleVibratoMediumFasterStill, etc.
255
beamAccelRit15 + beamAccelRit14 + beamAccelRit13 +

beamAccelRit15 + beamAccelRitFinal
256
Electronic music pictograms (U+EB10U+EB5F)
Electronic music pictograms (U+EB10 U+EB5F)
U+EB10
elecMicrophone
Microphone
U+EB12
elecHeadset
Headset
U+EB14
elecTape
Tape
U+EB16
elecUSB
USB connection
U+EB18
elecMonitor
Monitor
U+EB1A
elecLoudspeaker
Loudspeaker
U+EB1C
elecPlay
Play
U+EB1E
elecPause
Pause
U+EB20
elecRewind
Rewind
257
U+EB11
elecHeadphones
Headphones
U+EB13
elecDisc
Disc
U+EB15
elecMixingConsole
Mixing console
U+EB17
elecVideoCamera
Video camera
U+EB19
elecProjector
Projector
U+EB1B
elecCamera
Camera
U+EB1D
elecStop
Stop
U+EB1F
elecFastForward
Fast-forward
U+EB21
elecSkipForwards
Skip forwards
U+EB22
elecSkipBackwards
Skip backwards
U+EB24
elecReplay
Replay
U+EB26
elecMute
Mute
U+EB28
elecMicrophoneMute
Mute microphone
U+EB2A
elecPowerOnOff
Power on/off
U+EB2C
elecVolumeFader
Combining volume fader
U+EB2E
elecVolumeLevel0
Volume level 0%
U+EB30
elecVolumeLevel40
Volume level 40%
U+EB32
elecVolumeLevel80
Volume level 80%
258
U+EB23
elecLoop
Loop
U+EB25
elecShuffle
Shuffle
U+EB27
elecUnmute
Unmute
U+EB29
elecMicrophoneUnmute
Unmute microphone
U+EB2B
elecEject
Eject
U+EB2D
elecVolumeFaderThumb
Combining volume fader thumb
U+EB2F
elecVolumeLevel20
Volume level 20%
U+EB31
elecVolumeLevel60
Volume level 60%
U+EB33
elecVolumeLevel100
Volume level 100%
U+EB34
elecMIDIIn
MIDI in
U+EB36
elecMIDIController0
MIDI controller 0%
U+EB38
elecMIDIController40
MIDI controller 40%
U+EB3A
MIDI controller 80%
U+EB3C
elecAudioMono
Mono audio setup
U+EB3E
elecAudioChannelsOne
One channel (mono)
U+EB40
elecAudioChannelsThreeFrontal
Three channels (frontal)
U+EB42
elecAudioChannelsFour
Four channels
U+EB44
elecAudioChannelsSix
Six channels (5.1 surround)
259
U+EB35
elecMIDIOut
MIDI out
U+EB37
MIDI controller 20%
U+EB39
MIDI controller 60%
U+EB3B
MIDI controller 100%
U+EB3D
elecAudioStereo
Stereo audio setup
U+EB3F
elecAudioChannelsTwo
Two channels (stereo)
U+EB41
elecAudioChannelsThreeSurround
Three channels (surround)
U+EB43
elecAudioChannelsFive
Five channels
U+EB45
elecAudioChannelsSeven
Seven channels
U+EB46
elecAudioChannelsEight
Eight channels (7.1 surround)
U+EB48
elecLineOut
Line out
U+EB4A
elecAudioOut
Audio out
U+EB4C
elecVideoOut
Video out
U+EB4E
elecDataOut
Data out
U+EB50
elecUpload
Upload
260
U+EB47
elecLineIn
Line in
U+EB49
elecAudioIn
Audio in
U+EB4B
elecVideoIn
Video in
U+EB4D
elecDataIn
Data in
U+EB4F
elecDownload
Download
Arrows and arrowheads (U+EB60U+EB8F)
Arrows and arrowheads (U+EB60 U+EB8F)
U+EB60
arrowBlackUp
Black arrow up (N)
U+EB62
arrowBlackRight
Black arrow right (E)
U+EB64
arrowBlackDown
Black arrow down (S)
U+EB66
arrowBlackLeft
Black arrow left (W)
U+EB68
arrowWhiteUp
White arrow up (N)
U+EB6A
arrowWhiteRight
White arrow right (E)
U+EB6C
arrowWhiteDown
White arrow down (S)
U+EB6E
arrowWhiteLeft
White arrow left (W)
U+EB70
arrowOpenUp
Open arrow up (N)
261
U+EB61
arrowBlackUpRight
Black arrow up-right (NE)
U+EB63
arrowBlackDownRight
Black arrow down-right (SE)
U+EB65
arrowBlackDownLeft
Black arrow down-left (SW)
U+EB67
arrowBlackUpLeft
Black arrow up-left (NW)
U+EB69
arrowWhiteUpRight
White arrow up-right (NE)
U+EB6B
arrowWhiteDownRight
White arrow down-right (SE)
U+EB6D
arrowWhiteDownLeft
White arrow down-left (SW)
U+EB6F
arrowWhiteUpLeft
White arrow up-left (NW)
U+EB71
arrowOpenUpRight
Open arrow up-right (NE)
U+EB72
arrowOpenRight
Open arrow right (E)
U+EB74
arrowOpenDown
Open arrow down (S)
U+EB76
arrowOpenLeft
Open arrow left (W)
U+EB78
arrowheadBlackUp
Black arrowhead up (N)
U+EB7A
arrowheadBlackRight
Black arrowhead right (E)
U+EB7C
arrowheadBlackDown
Black arrowhead down (S)
U+EB7E
arrowheadBlackLeft
Black arrowhead left (W)
U+EB80
arrowheadWhiteUp
White arrowhead up (N)
U+EB82
arrowheadWhiteRight
White arrowhead right (E)
262
U+EB73
arrowOpenDownRight
Open arrow down-right (SE)
U+EB75
arrowOpenDownLeft
Open arrow down-left (SW)
U+EB77
arrowOpenUpLeft
Open arrow up-left (NW)
U+EB79
arrowheadBlackUpRight
Black arrowhead up-right (NE)
U+EB7B
arrowheadBlackDownRight
Black arrowhead down-right (SE)
U+EB7D
arrowheadBlackDownLeft
Black arrowhead down-left (SW)
U+EB7F
arrowheadBlackUpLeft
Black arrowhead up-left (NW)
U+EB81
arrowheadWhiteUpRight
White arrowhead up-right (NE)
U+EB83
arrowheadWhiteDownRight
White arrowhead down-right (SE)
U+EB84
arrowheadWhiteDown
White arrowhead down (S)
U+EB86
arrowheadWhiteLeft
White arrowhead left (W)
U+EB88
arrowheadOpenUp
Open arrowhead up (N)
U+EB8A
arrowheadOpenRight
Open arrowhead right (E)
U+EB8C
arrowheadOpenDown
Open arrowhead down (S)
U+EB8E
arrowheadOpenLeft
Open arrowhead left (W)
263
U+EB85
arrowheadWhiteDownLeft
White arrowhead down-left (SW)
U+EB87
arrowheadWhiteUpLeft
White arrowhead up-left (NW)
U+EB89
arrowheadOpenUpRight
Open arrowhead up-right (NE)
U+EB8B
arrowheadOpenDownRight
Open arrowhead down-right (SE)
U+EB8D
arrowheadOpenDownLeft
Open arrowhead down-left (SW)
U+EB8F
arrowheadOpenUpLeft
Open arrowhead up-left (NW)
Combining staff positions (U+EB90U+EB9F)
Combining staff positions (U+EB90 U+EB9F)
U+EB90
U+EB91
staffPosRaise1
Raise 1 staff position
staffPosRaise2
U+EB92
Raise 2 staff positions
U+EB93
staffPosRaise3
staffPosRaise4
U+EB94
U+EB95
staffPosRaise5
staffPosRaise6
U+EB96
U+EB97
staffPosRaise7
staffPosRaise8
U+EB98
U+EB99
staffPosLower1
Lower 1 staff position
staffPosLower2
U+EB9A
Lower 2 staff positions
U+EB9B
staffPosLower3
staffPosLower4
U+EB9C
U+EB9D
staffPosLower5
staffPosLower6
U+EB9E
staffPosLower7
264
U+EB9F
staffPosLower8
Renaissance lute tablature (U+EBA0U+EBBF)
Renaissance lute tablature (U+EBA0 U+EBBF)
U+EBA0
luteStaff6Lines
Lute tablature staff, 6 courses
U+EBA2
luteStaff6LinesNarrow
Lute tablature staff, 6 courses (narrow)
U+EBA4
luteBarlineEndRepeat
Lute tablature end repeat barline
U+EBA6
luteDurationDoubleWhole
Double whole note (breve) duration
sign
U+EBA8
luteDurationHalf
Half note (minim) duration sign
U+EBAA
luteDuration8th
Eighth note (quaver) duration sign
U+EBAC
luteDuration32nd
32nd note (demisemiquaver) duration
sign
U+EBAE
luteFingeringRHFirst
Right-hand fingering, first finger
U+EBB0
luteFingeringRHThird
Right-hand fingering, third finger
265
U+EBA1
luteStaff6LinesWide
Lute tablature staff, 6 courses (wide)
U+EBA3
luteBarlineStartRepeat
Lute tablature start repeat barline
U+EBA5
luteBarlineFinal
Lute tablature final barline
U+EBA7
luteDurationWhole
Whole note (semibreve) duration sign
U+EBA9
luteDurationQuarter
Quarter note (crotchet) duration sign
U+EBAB
luteDuration16th
16th note (semiquaver) duration sign
U+EBAD
luteFingeringRHThumb
Right-hand fingering, thumb
U+EBAF
luteFingeringRHSecond
Right-hand fingering, second finger
Renaissance lute tablature (U+EBA0U+EBBF)
uniEBB0.salt01
luteFingeringRHThirdAlt
Right-hand fingering, third finger
(alternate)
266
French and English Renaissance lute tablature (U+EBC0U+EBDF)
French and English Renaissance lute tablature

(U+EBC0 U+EBDF)
U+EBC0
luteFrenchFretA
Open string (a)
U+EBC2
luteFrenchFretC
Second fret (c)
U+EBC4
luteFrenchFretE
Fourth fret (e)
U+EBC6
luteFrenchFretG
Sixth fret (g)
U+EBC8
luteFrenchFretI
Eighth fret (i)
U+EBCA
luteFrenchFretL
10th fret (l)
U+EBCC
luteFrenchFretN
12th fret (n)
U+EBCE
luteFrench8thCourse
Eighth course (diapason)
267
U+EBC1
luteFrenchFretB
First fret (b)
U+EBC3
luteFrenchFretD
Third fret (d)
U+EBC5
luteFrenchFretF
Fifth fret (f)
U+EBC7
luteFrenchFretH
Seventh fret (h)
U+EBC9
luteFrenchFretK
Ninth fret (k)
U+EBCB
luteFrenchFretM
11th fret (m)
U+EBCD
luteFrench7thCourse
Seventh course (diapason)
U+EBCF
luteFrench9thCourse
Ninth course (diapason)
U+EBD0
luteFrench10thCourse
10th course (diapason)
U+EBD2
luteFrenchMordentLower
Mordent with lower auxiliary
U+EBD4
uniEBC2.salt01
luteFrenchAppoggiaturaBelow
Appoggiatura from below
luteFrenchFretCAlt
Second fret (c), alternate appearance
uniEBCD.salt02
luteFrench7thCourseUnderline
Seventh course (diapason), underline
uniEBCE.salt01
luteFrench8thCourseStrikethru
Eighth course (diapason), strikethrough
uniEBCE.salt03
luteFrench8thCourseRight
Eighth course (diapason), right
uniEBCF.salt02
Ninth course (diapason), underlined
uniEBD0.salt01
10th course (diapason), strikethrough
268
U+EBD1
luteFrenchMordentUpper
Mordent with upper auxiliary
U+EBD3
luteFrenchMordentInverted
Inverted mordent
U+EBD5
luteFrenchAppoggiaturaAbove
Appoggiatura from above
uniEBCD.salt01
Seventh course (diapason),
strikethrough
uniEBCD.salt03
Seventh course (diapason), right
uniEBCE.salt02
Eighth course (diapason), underlined
uniEBCF.salt01
Ninth course (diapason), strikethrough
uniEBCF.salt03
Ninth course (diapason), right
uniEBD0.salt02
10th course (diapason), underlined
uniEBD0.salt03
10th course (diapason), right
269
Italian and Spanish Renaissance lute tablature (U+EBE0U+EBFF)
Italian and Spanish Renaissance lute tablature

(U+EBE0 U+EBFF)
U+EBE0
luteItalianFret0
Open string (0)
U+EBE2
luteItalianFret2
Second fret (2)
U+EBE4
luteItalianFret4
Fourth fret (4)
U+EBE6
luteItalianFret6
Sixth fret (6)
U+EBE8
luteItalianFret8
Eighth fret (8)
U+EBEA
luteItalianTempoFast
Fast tempo indication (de Mudarra)
U+EBEC
luteItalianTempoNeitherFastNorSlow
Neither fast nor slow tempo indication
(de Mudarra)
U+EBEE
luteItalianTempoVerySlow
Very slow indication (de Narvaez)
270
U+EBE1
luteItalianFret1
First fret (1)
U+EBE3
luteItalianFret3
Third fret (3)
U+EBE5
luteItalianFret5
Fifth fret (5)
U+EBE7
luteItalianFret7
Seventh fret (7)
U+EBE9
luteItalianFret9
Ninth fret (9)
U+EBEB
luteItalianTempoSomewhatFast
Somewhat fast tempo indication (de
Narvaez)
U+EBED
luteItalianTempoSlow
Slow tempo indication (de Mudarra)
U+EBEF
luteItalianTimeTriple
Triple time indication
Italian and Spanish Renaissance lute tablature (U+EBE0U+EBFF)
U+EBF0
luteItalianClefFFaUt
F fa ut clef
U+EBF2
luteItalianTremolo
Single-finger tremolo or mordent
U+EBF4
luteItalianHoldFinger
Hold finger in place
U+EBF6
luteItalianVibrato
Vibrato (verre cass)
271
U+EBF1
luteItalianClefCSolFaUt
C sol fa ut clef
U+EBF3
luteItalianHoldNote
Hold note
U+EBF5
luteItalianReleaseFinger
Release finger
German Renaissance lute tablature (U+EC00U+EC2F)
German Renaissance lute tablature (U+EC00

U+EC2F)
U+EC00
luteGermanALower
5th course, 1st fret (a)
U+EC02
luteGermanCLower
3rd course, 1st fret (c)
U+EC04
luteGermanELower
1st course, 1st fret (e)
U+EC06
luteGermanGLower
4th course, 2nd fret (g)
U+EC08
luteGermanILower
2nd course, 2nd fret (i)
U+EC0A
luteGermanLLower
5th course, 3rd fret (l)
U+EC0C
luteGermanNLower
3rd course, 3rd fret (n)
U+EC0E
luteGermanPLower
1st course, 3rd fret (p)
272
U+EC01
luteGermanBLower
4th course, 1st fret (b)
U+EC03
luteGermanDLower
2nd course, 1st fret (d)
U+EC05
luteGermanFLower
5th course, 2nd fret (f)
U+EC07
luteGermanHLower
3rd course, 2nd fret (h)
U+EC09
luteGermanKLower
1st course, 2nd fret (k)
U+EC0B
luteGermanMLower
4th course, 3rd fret (m)
U+EC0D
luteGermanOLower
2nd course, 3rd fret (o)
U+EC0F
luteGermanQLower
5th course, 4th fret (q)
U+EC10
luteGermanRLower
4th course, 4th fret (r)
U+EC12
luteGermanTLower
2nd course, 4th fret (t)
U+EC14
luteGermanXLower
5th course, 5th fret (x)
U+EC16
luteGermanZLower
3rd course, 5th fret (z)
U+EC18
luteGermanBUpper
6th course, 2nd fret (B)
U+EC1A
luteGermanDUpper
6th course, 4th fret (D)
U+EC1C
luteGermanFUpper
6th course, 6th fret (F)
U+EC1E
luteGermanHUpper
6th course, 8th fret (H)
U+EC20
luteGermanKUpper
6th course, 10th fret (K)
273
U+EC11
luteGermanSLower
3rd course, 4th fret (s)
U+EC13
luteGermanVLower
1st course, 4th fret (v)
U+EC15
luteGermanYLower
4th course, 5th fret (y)
U+EC17
luteGermanAUpper
6th course, 1st fret (A)
U+EC19
luteGermanCUpper
6th course, 3rd fret (C)
U+EC1B
luteGermanEUpper
6th course, 5th fret (E)
U+EC1D
luteGermanGUpper
6th course, 7th fret (G)
U+EC1F
luteGermanIUpper
6th course, 9th fret (I)
U+EC21
luteGermanLUpper
6th course, 11th fret (L)
U+EC22
luteGermanMUpper
6th course, 12th fret (M)
274
U+EC23
luteGermanNUpper
6th course, 13th fret (N)
Kievan square notation (U+EC30U+EC3F)
Kievan square notation (U+EC30 U+EC3F)
U+EC30 (and U+1D1DE)
kievanCClef
Kievan C clef (tse-fa-ut)
U+EC32 (and U+1D1E1)
kievanNoteReciting
Kievan reciting note
kievanNoteWholeFinal
Kievan final whole note
U+EC36
kievanNoteHalfStaffSpace
Kievan half note (in staff space)
kievanNoteQuarterStemDown
Kievan quarter note, stem down
U+EC3A (and U+1D1E6)
kievanNote8thStemDown
Kievan eighth note, stem down
U+EC3C
kievanAugmentationDot
Kievan augmentation dot
U+EC3E (and U+1D1E8)

kievanAccidentalFlat
Kievan flat
275
U+EC31 (and U+1D1DF)

kievanEndingSymbol
Kievan ending symbol

kievanNoteWhole
Kievan whole note

kievanNoteHalfStaffLine
Kievan half note (on staff line)

kievanNoteQuarterStemUp
Kievan quarter note, stem up

kievanNote8thStemUp
Kievan eighth note, stem up
U+EC3B
kievanNoteBeam
Kievan beam
U+EC3D
kievanAccidentalSharp
Kievan sharp
Kievan square notation (U+EC30U+EC3F)
This range of Kievan square notation glyphs will be encoded in Unicode 8.0 at the
code points U+1D1DEU+1D1E8.
For kievanNoteWholeFinal and kievanNoteReciting, the symbol is positioned on the
staff such that for a note on a staff line, the staff line passes between the two thick
horizontal lines. For kievanNoteWhole on a staff line, the staff line passes between the
two diamonds. For kievanNote8thStemDown on a staff line, the staff line passes
through the top diamond.
In the type of Kievan notation used in modern chant books of the Russian Orthodox
Church, the symbol for half note has two variants: the variant with the long tail down
(kievanNoteHalfStemDown) is used when the note occurs on a staff line, and the
variant with the long tail up (kievanNoteHalfStemUp) is used when the note occurs in a
space. Only the first of these characters is encoded in Unicode, while the second
character is to be selected programmatically via font features; SMuFL encodes both
characters at separate code points.
Kievan notes may be beamed, with stems up or stems down. These ligatures are not
encoded explicitly either in Unicode or in SMuFL, but it is recommended that fonts
provide ligatures. They may also be available in Unicode fonts via ligature substitution
by entering, e.g., the following character sequence: U+1D1E4 Musical Symbol Kievan
Quarter Note Stem Down, U+1D173 Musical Symbol Begin Beam, U+1D1E4 Musical
Symbol Kievan Quarter Note Stem Down, U+1D174 Musical Symbol End Beam.
276
Kodly hand signs (U+EC40U+EC4F)
Kodly hand signs (U+EC40 U+EC4F)
U+EC40
kodalyHandDo
Do hand sign
U+EC42
kodalyHandMi
Mi hand sign
U+EC44
kodalyHandSo
So hand sign
U+EC46
kodalyHandTi
Ti hand sign
277
U+EC41
kodalyHandRe
Re hand sign
U+EC43
kodalyHandFa
Fa hand sign
U+EC45
kodalyHandLa
La hand sign
Simplified Music Notation (U+EC50U+EC5F)
Simplified Music Notation (U+EC50 U+EC5F)
U+EC50
smnSharp
Sharp stem up
U+EC52
smnFlat
Flat
U+EC54
smnHistorySharp
Sharp history sign
U+EC56
smnHistoryFlat
Flat history sign
U+EC58
smnNatural
Natural (N)
U+EC5A
U+EC51
smnSharpWhite
Sharp (white) stem up
U+EC53
smnFlatWhite
Flat (white)
U+EC55
smnHistoryDoubleSharp
Double sharp history sign
U+EC57
smnHistoryDoubleFlat
Double flat history sign
U+EC59
smnSharpDown
Sharp stem down
smnSharpWhiteDown
Sharp (white) stem down
Simplified Music Notation is a notation system in which the usual accidentals symbols
are replaced with noteheads of different shapes. Double sharps, double flats and
sharps and flats produced by playing white notes on the piano (e.g. B sharp and E
sharp) are notated using history signs.
For more information about Simplified Music Notation, visit
http://www.simplifiedmusicnotation.org/
278
Miscellaneous symbols (U+EC60U+EC7F)
Miscellaneous symbols (U+EC60 U+EC7F)
U+EC60
miscDoNotPhotocopy
Do not photocopy
U+EC62
miscEyeglasses
Eyeglasses
U+EC64
metricModulationArrowRight
Right-pointing arrow for metric
modulation
279
U+EC61
miscDoNotCopy
Do not copy
U+EC63
metricModulationArrowLeft
Left-pointing arrow for metric
modulation
Time signatures supplement (U+EC80U+EC8F)
Time signatures supplement (U+EC80 U+EC8F)
U+EC80
timeSigBracketLeft
Left bracket for whole time signature
U+EC82
timeSigBracketLeftSmall
Left bracket for numerator only
U+EC84
timeSigSlash
Time signature slash separator
280
U+EC81
timeSigBracketRight
Right bracket for whole time signature
U+EC83
timeSigBracketRightSmall
Right bracket for numerator only
U+EC85
timeSigCut2
Cut time (Bach)
Octaves supplement (U+EC90U+EC9F)
Octaves supplement (U+EC90 U+EC9F)
U+EC90
octaveLoco
Loco
U+EC92
octaveSuperscriptA
a (superscript)
U+EC94
octaveSuperscriptB
b (superscript)
U+EC96
octaveSuperscriptM
m (superscript)
U+EC98
octaveSuperscriptV
v (superscript)
281
U+EC91
octaveBaselineA
a (baseline)
U+EC93
octaveBaselineB
b (baseline)
U+EC95
octaveBaselineM
m (baseline)
U+EC97
octaveBaselineV
v (baseline)
Metronome marks (U+ECA0U+ECBF)
Metronome marks (U+ECA0 U+ECBF)
U+ECA0
metNoteDoubleWhole
Double whole note (breve)
U+ECA2
metNoteWhole
Whole note (semibreve)
U+ECA4
metNoteHalfDown
Half note (minim) stem down
U+ECA6
metNoteQuarterDown
Quarter note (crotchet) stem down
U+ECA8
metNote8thDown
Eighth note (quaver) stem down
U+ECAA
metNote16thDown
16th note (semiquaver) stem down
U+ECAC
metNote32ndDown
32nd note (demisemiquaver) stem down
U+ECAE
metNote64thDown
64th note (hemidemisemiquaver) stem
down
U+ECB0
metNote128thDown
stem down
282
U+ECA1
metNoteDoubleWholeSquare
Double whole note (square)
U+ECA3
metNoteHalfUp
Half note (minim) stem up
U+ECA5
metNoteQuarterUp
Quarter note (crotchet) stem up
U+ECA7
metNote8thUp
Eighth note (quaver) stem up
U+ECA9
metNote16thUp
16th note (semiquaver) stem up
U+ECAB
metNote32ndUp
32nd note (demisemiquaver) stem up
U+ECAD
metNote64thUp
64th note (hemidemisemiquaver) stem up
U+ECAF
metNote128thUp
stem up
U+ECB1
metNote256thUp
256th note
(demisemihemidemisemiquaver) stem up
Metronome marks (U+ECA0U+ECBF)
U+ECB2
metNote256thDown
256th note
(demisemihemidemisemiquaver) stem
down
U+ECB4
metNote512thDown
512th note
stem down
U+ECB6
metNote1024thDown
1024th note
stem down
U+ECB3
metNote512thUp
512th note
stem up
U+ECB5
metNote1024thUp
1024th note
stem up
U+ECB7
metAugmentationDot
Augmentation dot
This range is most useful in fonts intended for text-based applications, with metrics
that are compatible for mixing musical symbols with text. These precomposed notes
may be used for displaying metronome marks and simple metric modulations. More
complex metric modulations and listesso tempo directions may be drawn using these
characters in conjunction with the Beamed groups of notes range.
It is recommended that the default stem length for characters in this range is reduced
by 0.75 spaces from the normal minimum of 3.5 spaces. This helps to balance the
notehead and its stem and flag with the surrounding text.
By contrast, the characters in the Individual notes range are intended for positioning
on a staff, and hence have the default minimum stem length of 3.5 spaces.
283

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SMuFL

Standard Music Font Layout

Copyright 20132015 Steinberg Media Technologies GmbH

Version 0.2 (2013-02-08)

Added tick barline.

Version 0.3 (2013-03-11):

Version 0.4 (2013-05-16):

Version 0.5 (2013-07-08):

Added combining stems for multiphonics, damp, sussurando, Saunders vibrato

Version 0.6 (2013-07-29):

Added sharp sharp accidental for compatibility with MusicXML.

Version 0.7 (2013-11-27):

Version 0.8 (2014-02-03):

Added new ranges for Renaissance lute tablature, covering French/English,

Version 0.85 (2014-03-09):

Updated glyph registration guidelines for articulations, such that articulations

Added clef for diatonic accordion.

Version 0.9 (2014-04-17):

Expanded the specification of font-specific metadata to include new structures to

Added Kievan half note on space, and Kievan beam.

Version 0.99 (2014-06-02):

Modified the specification of the glyphsWithBBoxes structure in the font-specific

Version 1.0 (2014-06-16):

Version 1.12 (2015-01-07):

Added specification of new noteheadOrigin anchor points for the

Version 1.17 (2015-04-29):

Added specification of new optionalGlyphs structure for font-specific metadata to

Version 1.18 (2015-05-18):

Added specification of locations for font-specific metadata to be installed on

Persian accidentals (U+E460U+E46F) ............................................................................................................... 142

Accordion (U+E8A0U+E8DF) ............................................................................................................................. 213

How SMuFL is organized

Recommended characters and optional glyphs

Sources for symbols

Agostini, Dante. Methode de Batterie. France: Carisch Musicom, 2009.

Apel, Willi. The Notation of Polyphonic Music 9001600, Fourth Edition.

Balestrieri, Donald. Registers of the Standard Stradella Keyboard Accordion. USA:

Davis, Roger E. The Organists Manual. New York: W. W. Norton, 1985.

Draugsvoll, Geir & Hjsgaard, Erik (translated Borregaard, Andreas). Handbook on

Drobner, Mieczysaw. Instrumentoznawstwo i akustyka (Musical Instruments and

Gould, Elaine. Behind Bars. London: Faber Music, 2011.

McCarty, Frank. Notational Standards for Percussion: A Report on the Ghent

Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music.

Read, Gardner. Twentieth-Century Microtonal Notation. USA: Praeger, 1990.

Sabat, Marc. The Extended Helmholtz-Ellis JI Pitch Notation. Plainsound Music

Salzedo, Carlos. Modern Study of the Harp. London: G. Schirmer, 1921.

Secor, George & Keenan, David. Sagittal A Microtonal Notation System.

Sevsay, Ertugrul: Handbuch der Instrumentationspraxis. Kassel: Brenreiter, 2005

Simmons, Nikita. A Primer of Kievian Square-Note (Quadratic or Synodal) Notation.

Smith Brindle, Reginald. Contemporary Percussion. New York: Oxford University

Stiller, Andrew. Handbook of Instrumentation. Philadelphia: Kallisti Music Press,

Vounelakos, Antonis. Die Konzepte der Flamenco-Gitarrentranskription. Vienna:

Weinberg, Norman. Guide to Standardized Drumset Notation. Lawton: Percussive

Ornaments, Grove Music Online, ed. L. Macy (accessed January 24 2013)

A summary of the main notations prescribed in this book can be found at

PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR

Notes for implementers

Notes for implementers

Metadata for SMuFL glyphs and ranges