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CARLETON UNIVERSITY
SCHOOL OF COMPUTER SCIENCE
HONOURS PROJECT (COMP 4905)
Jazz-Style Font Creation: An Art and a Science
Nicol Lum 100680617
Supervised by Dr. Louis D. Nel
of the School of Computer Science
APRIL 12, 2011
1
ABSTRACT Stylisation of font is subtle yet plays an important role in communication – a stiff font may emit
professionalism while a rounded font suggests creativity and relaxation. The objective of this
project was to create a jazz-style music font to be utilized in a music score editor called
Arborsong. The two main stages of this project were design and creation. The design phrase
involved analysis and design of the font, followed by notation selection of symbols to include in
the font, and selection of software used to create the font. Font creation entailed creating
individual symbols or glyphs for the font and mapping them to characters, and glyph
modification as necessary. This report discusses the design process behind font creation and
describes the methodology and logistics of creating a font in its entirety.
2
ACKNOWLEDGEMENTS I would like to thank Dr. Louis D. Nel for his guidance throughout this project. His genuine
interest in the project and his helpful suggestions were valuable and much appreciated.
3
TABLE OF CONTENTS Abstract ............................................................................................................................................1
Acknowledgements..........................................................................................................................2
List of Figures ..................................................................................................................................4
List of Tables ...................................................................................................................................5
1. Introduction................................................................................................................................6
2. Design Phase..............................................................................................................................6
2.1. Font Analysis and Design...................................................................................................6
2.2. Selection of Notation .........................................................................................................7
2.3. Software Selection ..............................................................................................................8
3. Font Creation .............................................................................................................................9
3.1. How to create a font............................................................................................................9
3.2. How to add glyphs to an existing font ..............................................................................14
3.3. How to re-map glyphs ......................................................................................................14
3.4. How to copy glyphs between different fonts....................................................................14
4. Difficulties and Learning Experiences.....................................................................................15
4.1. Actual Font vs. Design .....................................................................................................15
5. Conclusions and Further Development....................................................................................16
6. References................................................................................................................................17
Appendix A: JazzIt Mapping.........................................................................................................18
Appendix B: Jazzish Mapping.......................................................................................................24
Appendix C: Jazzish Box Mapping ...............................................................................................31
Appendix D: JazzyG Mapping.......................................................................................................39
4
LIST OF FIGURES Figure 1: A7 in alphanumeric font...................................................................................................8
Figure 2: A7 in guitar font ...............................................................................................................8
Figure 3: Type 2.2 Light main window with toolbox and mapping window ................................10
Figure 4: Arial uppercase A – no transformation ..........................................................................11
Figure 5: Transformation to round ends ........................................................................................12
Figure 6: Transformation to look more hand-written ....................................................................12
Figure 7: Proper contour direction.................................................................................................13
Figure 8: Improper contour direction.............................................................................................13
5
LIST OF TABLES Table 1: Comparison of example symbols between classical, jazz, and project fonts ....................7
Table 2: Comparison of overlapping and spaced-out characters ...................................................15
6
1 Introduction The purpose of this project was to create a jazz-style font to be used for the prototype score
editor Arborsong. Existing jazz fonts are copyrighted and cannot be used in other software,
especially if the borrowing software is proprietary. As such, it was desirable to create a new jazz-
style font to use. The scope of this project was to solely create the font. Practical use of the font
and incorporation into Arborsong could serve as a future honours project.
2 Design Phase 2.1 Font Analysis and Design Many people do not realize the importance of font style and how it affects the reader. Font styles
need to be recognizable and distinct but also chosen so that they communicate the appropriate
message to others [Harris, 2009a]. How does this relate to jazz-style music fonts? Typically, jazz
music fonts have more curves and rounded edges, and have a distinct hand-written look.
Rounded edges are said to give a relaxing and calm feeling as well as show creativity [Harris,
2009b]. In comparison to classical music fonts, which are stiff and where the music played needs
to be precise, a jazz music font is congruent to what jazz music represents – it is creative and
relaxing, leaves room for improvisation, and invokes a carefree emotion.
Initially, the approach taken in designing the font was to look at classical notation, and then
hand-draw a “jazzier” version, which eventually was still somewhat stiff-looking. The results,
however, were that the hand-written version did not exude a desirable jazz impression. Having
various jazz sheet music as resources then served as good examples of what a standard jazz
music font should look like. Since the intention of the project was to create a unique font, and the
added difficulty and near impossibility of trying to copy a font exactly, this lead to the design of
a few unique jazz fonts. The fundamental conventions followed from other jazz fonts was to
keep most of the edges and corners rounded, to extend and cross lines to look more handwritten,
and to have thicker and more readable lines. Table 1 shows and compares various examples from
the four different fonts created in this project.
7
Example Classical
Notation Example Jazz
Notation
My Fonts (JazzIt, Jazzish,
Jazzish Box, JazzyG)
Treble clef
Eighth note
Sharp
Repeat sign
Uppercase A A (Times New Roman – bold)
Uppercase A boxed
N/A
G major 7 Gmaj7 (Times New Roman – bold)
Trumpet Trumpet (Times New Roman – bold)
Table 1 Comparison of example symbols between classical, jazz, and project fonts 2.2 Selection of Notation In designing a font, one has to consider which glyphs to include. In creating a jazz-style font, this
not only includes standard music symbols, but also an alphanumeric font to be used for titles and
other forms of labelling. Many of the music symbols seen in standard classical sheet music were
8
included in the fonts, and not exclusively jazz notation. Although a jazz-style font will be
generally used for jazz music, there may be the occasion where there is a need to generate sheet
music for a modern classical piece, for example, a music soundtrack score, which often has a
handwritten impression, in which case classical notation will be required. However, more
obscure symbols less frequently seen in either classical or jazz sheet music were excluded,
though they may be added to the fonts later as necessary.
As the project progressed and more jazz sheet music was analyzed, there became a need to create
a font for the standard computer keyboard with alphanumeric symbols to be able to give notation
for music titles, author names, instrument names, etc. A box version of the alphanumeric font
was also necessary for labelling different sections of a jazz piece. There also became a
requirement to create a font specifically for guitar chords. The reasoning for creating a separate
font for guitar chords instead of typing out chord names with the alphanumeric font was due to
positioning of letters within a chord.
Figure 1 A7 chord in alphanumeric font (Jazzish)
Figure 2 A7 chord in guitar font (JazzyG)
Figures 1 and 2 show different representations of an A7 chord. Figure 1 is written in the
alphanumeric font while Figure 2 is written in the guitar font. In Figure 2, the 7 is slightly
smaller and elevated so that the top of the 7 is still aligned with the top of the A. It is often seen
in guitar chords that anything following the base note is smaller. Our purposes of having the base
note larger is so that it is the most prominent element of the chord, and having smaller symbols
which follow the base note makes the different elements easy to distinguish and read. As a whole,
the guitar chord is easier to recognize this way than if all the letters and numbers were of equal
size.
2.3 Software Selection Choosing software for font creation was the primary concern at the beginning of the project. The
main criteria for the software was that it be relatively low cost or free, be easy to learn and use,
and have the basic functions necessary for font creation.
9
At first, an attempt to find open-source software was made, but there was very limited selection.
One open-source software was called FontForge. It seemed promising at first as it had many
functions, but was too complicated to install because it was built to only run in a Linux
environment, and the setup process to integrate it into a Windows environment was unstable and
not fully functional. Efforts were then directed at employing the use of proprietary software. One
such suggestion was a piece of software called Font Creator. Font Creator is quite well-known
and popular. However, since there exist free software that can carry out most of the same
functions, the route of locating freeware was taken instead.
Type 2.2 Light (the free version of the Type 2.2) made by CR8 Sofware Solutions seemed to
fulfill the basic necessary requirements for font creation. The light version is a fully functional
freeware allowing for font editing and design for OpenType font; it has limited commercial use
in that the fonts created by Type Light can only be sold if font-creation is not the creator’s
profession. It also has a simple toolbox with basic drawing tools, and can open fonts equipped
with a maximum of 65535 glyphs.
Type 2.2 Light is fairly simple to use but has limited functionality compared to Type 2.2 or even
the current Type 3.0. Type 3.0 would be preferable since it has very useful functions such as
glyph list functions (copy, duplicate, rename), which are not available in the light version. These
functions can be mimicked in the light version but is tedious.
3 Font Creation 3.1 How to create a font After downloading and installing Type 2.2 Light, open it and go to File > New. A ‘New font’
dialog box will open. Select ‘TrueType metrics’ and fill in the other necessary information. The
main screen will be shown where a toolbox is available for creating glyphs and a mapping
window for mapping the glyphs to characters.
10
Figure 3 Type 2.2 Light main window with toolbox and mapping window A font consists of a collection of glyphs. To add glyphs to the font, there are two ways to do this:
1) Click on the ‘New glyph’ button
2) Double click on the character in the mapping window that the glyph will be mapped
to. If there is no existing glyph there, you will be asked if you want to map the new
glyph to this character – click Yes. Please note that certain characters should not be
mapped to as they will not be accessible such as the space button, the delete button,
etc. To re-map glyphs to different characters, please see section 3.3.
The toolbox has eight tools to help create glyphs – a pointer, a pen, four control node points, a
straight light, a rectangle, an oval, and a ruler. If the glyph being created is more structured and
has definite rectangular or oval shapes, then it is fine to use those elements of the toolbox.
However, since jazz-style fonts need to look more free-flowing and wavy, it is best to manually
11
plot out the nodes with the pen tool and then add control points to add curves or corners to the
glyph.
For example, suppose we are creating the letter A. Initially, it would look like a standard Arial A,
but would then undergo a series of transformations.
Figure 4 Arial uppercase A – no transformation Glyph size needs to be maintained within the red and green boundary lines otherwise there will
be spacing problems. The boundary lines can be moved manually to fit the size of the glyph. The
metrics (i.e., the values for ascent, caps height, x height, descent) can be defined under the Font
> Metrics menu, but these will remain the same for each glyph, while the red and green boundary
lines can be unique to each glyph within the font.
The first transformation is to round the bottom and top ends by adding a curve node and pulling
it up, and then shorten the glyph to fit within the height boundaries.
12
Figure 5 Transformation to round ends To give it a more hand-written impression, add a few corner nodes to the sides so that the cross
of the A extends further than the side lines.
Figure 6 Transformation to look more hand-written Please also note that the direction of the filled in section must be clockwise, and the unfilled
section should be counter-clockwise. If the inner contour of the A is clockwise, the inner triangle
will be filled in and the ‘hole’ will not be displayed.
13
Figure 7 Proper contour direction
Figure 8 Improper contour direction When finished editing the glyph, press the Map button in the mapping window to make sure it is
mapped. To edit the glyph, simply double click on it in the mapping window, edit the glyph, and
click the Map button when finished.
14
Special glyphs include:
GLYPH #0 Used for undefined characters - normally a box shape
GLYPH #1 Special glyph with no contours, and zero width
GLYPH #2 The CR character - no contours, but with a defined width
GLYPH #3 The space character - no contours, but with a defined width
To save the font, go to File > Save as (.tff .otf), and save as a .tff file. There is no regular save
option, to override an existing file, give it the same name as the file to replace. However, it is
recommended to save new copies in case there is a need to revert. The font should be able to
install properly at this point.
3.2 How to add glyphs to an existing font To edit a font file, simply open True Light and go to File > Open (.tff .otf) and select the font you
want to edit. To add new glyphs or edit glyphs, please see section 3.1.
3.3 How to re-map glyphs The safest way to re-map a glyph is to open the glyph to re-map, select all the points and copy
them, and then select the character to map it to as if a new glyph were being created, and then
paste the points in that glyph. Clicking the Unmap button for a glyph and then trying to map it to
another character is unsafe as it is likely that the glyph will be lost.
3.4 How to copy glyphs between different fonts In Type 2.2 Light, there is no built-in function to copy glyphs between fonts. The only way is to
open the font in Type 2.2 Light, copy the points of the glyph you want to copy, close the font and
open the target font in the same window session of Type 2.2 Light, and then paste the glyph
points to a glyph.
15
4 Difficulties and Learning Experiences 4.1 Actual Font vs. Design After installing the fonts, the metrics for each glyph needed to be adjusted to ensure that the
width of each glyph was appropriate as there was overlapping of characters and too much extra
space between adjacent characters.
Before After
Design (e.g.,
lowercase T)
Too spaced out
(e.g., Jazzish)
Visual
Design (e.g.,
lowercase T)
Not enough space
(e.g., Jazzish Box)
Visual
Table 2 Comparison of overlapping and spaced-out characters Line thickness for many of the glyphs was also increased because when viewed at a smaller font
size, the lines were too faint.
Since re-mapping glyphs is also quite frustrating, purchasing inexpensive proprietary font
software is recommended as it likely to increase the quality of the font as well. Suggestions
include Font Creator Home Edition, or Type 3.0.
16
5 Conclusions and Further Development Font creation is not a particularly arduous task, but it is tedious and requires a lot of attention to
detail. There is a lot of review done, and perhaps done multiple times, as we continuously look
for ways to improve the font to suit certain needs.
The four different fonts created for this project were (1) JazzIt – standard music notation, (2)
Jazzish – alphanumeric font, (3) Jazzish Box – Jazzish font with rounded boxes around each
glyph, and (4) JazzyG – font for representing guitar chords.
The next steps for this project would be to install the fonts and test them in Arborsong. From
there, the fonts would need to be modified as necessary – add glyphs, modify glyphs, fix spacing,
create new fonts, etc.
17
6 REFERENCES
(2009) Font Creator – the most popular font editor.
(2009) FontForge.
(2009) Type light - a freeware OpenType™ font editor.
Harris, B. (2009) The Importance of Font-Style.
Harris, B. (2009) The Importance of Individuality. < http://www.articlesbase.com/marketing-
articles/the-importance-of-individuality-840107.html>
Murray, A. (2009) Type Light User Manual.
18
APPENDIX A: JazzIt Mapping
Jazz Symbol
Symbol Name Decimal Hex
/Unicode Character
Character Name
Whole note 33 21 ! exclam
Half note 34 22 " quotedbl
Half note 35 23 # numbersign
Quarter note 36 24 $ dollar
Quarter note 37 25 % percent
Eighth note 38 26 & ampersand
Eighth note 39 27 ' quotesingle
Sixteenth note
40 28 ( parenleft
Sixteenth note
41 29 ) parenright
Thirty- second note
42 2A * asterisk
Thirty- second note
43 2B + plus
Sixty-fourth note
44 2C , comma
Sixty-fourth note
45 2D - hyphen
Dot (dotted note)
46 2E . period
19
Whole rest 47 2F / slash
Half rest 48 30 0 zero
Quarter rest 49 31 1 one
Eighth rest 50 32 2 two
Sixteenth rest
51 33 3 three
Thirty- second rest
52 34 4 four
Sixty-fourth rest
53 35 5 five
Breath mark 54 36 6 six
Caesura 55 37 7 seven
Flat 56 38 8 eight
Sharp 57 39 9 nine
Natural 58 3A : colon
Double flat 59 3B ; semicolon
Double sharp 60 3C < less
Common time 61 3D = equal
Cut time 62 3E > greater
Treble clef 63 3F ? question
20
Bass clef 64 40 @ at
Alto/tenor clef
65 41 A A
Crescendo 66 42 B B
Diminuendo 67 43 C C
Piano 68 44 D D
Pianissimo 69 45 E E
Pianississimo 70 46 F F
Forte 71 47 G G
Fortissimo 72 48 H H
Fortississimo 73 49 I I
Mezzo piano 74 4A J J
Mezzo forte 75 4B K K
Forte piano 76 4C L L
Sforzando 77 4D M M
Staccato 78 4E N N
Staccatissimo 79 4F O O
21
Marcato 80 50 P P
Tenuto 81 51 Q Q
Martellato 82 52 R R
Up bow 83 53 S S
Down bow 84 54 T T
Stopped note 85 55 U U
Snap pizzicato
86 56 V V
Open note 87 57 W W
Fermata 88 58 X X
Trill 89 59 Y Y
Mordent 90 5A Z Z
Mordent (lower)
91 5B [ bracketleft
Turn 92 5C \ backslash
Inverted turn 93 5D ] bracketright
Appoggiatura 94 5E ^ asciicircum
Acciaccatura 95 5F _ underscore
22
Tremelo 96 60 ` grave
Bold double bar line
97 61 a a
Repeat sign 98 62 b b
Simile mark (repeat
previous bar) 99 63 c c
Similar mark (repeat
previous 2 bars)
100 64 d d
Multi- measure rest
101 65 e e
Volta bracket (1st ending)
102 66 f f
Volta bracket (2nd ending)
103 67 g g
Da capo 104 68 h h
Dal segno 105 69 i i
Coda 106 6A j j
Segno 107 6B k k
Engage pedal 108 6C l l
Release pedal 109 6D m m
23
Variable pedal mark
110 6E n n
Coda (boxed) 111 6F o o
Segno (boxed) 112 70 p p
Tuplet 113 71 q q
Tie 114 72 r r
Slur, phrase mark
115 73 s s
Glissando 116 74 t t
Arpeggiated chord
117 75 u u
24
APPENDIX B: Jazzish Mapping Jazz
Symbol Symbol Name Decimal
Hex /Unicode
Character Character
Name
exclam 33 21 ! exclam
quotedbl 34 22 " quotedbl
numbersign 35 23 # numbersign
dollar 36 24 $ dollar
percent 37 25 % percent
ampersand 38 26 & ampersand
quotesingle 39 27 ' quotesingle
parenleft 40 28 ( parenleft
parenright 41 29 ) parenright
asterisk 42 2A * asterisk
plus 43 2B + plus
comma 44 2C , comma
hyphen 45 2D - hyphen
period 46 2E . period
25
slash 47 2F / slash
zero 48 30 0 zero
one 49 31 1 one
two 50 32 2 two
three 51 33 3 three
four 52 34 4 four
five 53 35 5 five
six 54 36 6 six
seven 55 37 7 seven
eight 56 38 8 eight
nine 57 39 9 nine
colon 58 3A : colon
semicolon 59 3B ; semicolon
less 60 3C < less
26
equal 61 3D = equal
greater 62 3E > greater
question 63 3F ? question
at 64 40 @ at
A 65 41 A A
B 66 42 B B
C 67 43 C C
D 68 44 D D
E 69 45 E E
F 70 46 F F
G 71 47 G G
H 72 48 H H
I 73 49 I I
J 74 4A J J
27
K 75 4B K K
L 76 4C L L
M 77 4D M M
N 78 4E N N
O 79 4F O O
P 80 50 P P
Q 81 51 Q Q
R 82 52 R R
S 83 53 S S
T 84 54 T T
U 85 55 U U
V 86 56 V V
W 87 57 W W
X 88 58 X X
28
Y 89 59 Y Y
Z 90 5A Z Z
bracketleft 91 5B [ bracketleft
backslash 92 5C \ backslash
bracketright 93 5D ] bracketright
asciicircum 94 5E ^ asciicircum
underscore 95 5F _ underscore
grave 96 60 ` grave
a 97 61 a a
b 98 62 b b
c 99 63 c c
d 100 64 d d
e 101 65 e e
f 102 66 f f
g 103 67 g g
29
h 104 68 h h
i 105 69 i i
j 106 6A j j
k 107 6B k k
l 108 6C l l
m 109 6D m m
n 110 6E n n
o 111 6F o o
p 112 70 p p
q 113 71 q q
r 114 72 r r
s 115 73 s s
t 116 74 t t
u 117 75 u u
v 118 76 v v
w 119 77 w w
x 120 78 x x
30
y 121 79 y y
z 122 7A z z
braceleft 123 7B { braceleft
bar 124 7C | bar
braceright 125 7D } braceright
asciitilde 126 7E ~ asciitilde
31
APPENDIX C: Jazzish Box Mapping Jazz
Symbol Symbol Name Decimal
Hex /Unicode
Character Character
Name
exclam 33 21 ! exclam
quotedbl 34 22 " quotedbl
numbersign 35 23 # numbersign
dollar 36 24 $ dollar
percent 37 25 % percent
ampersand 38 26 & ampersand
quotesingle 39 27 ' quotesingle
parenleft 40 28 ( parenleft
parenright 41 29 ) parenright
asterisk 42 2A * asterisk
plus 43 2B + plus
32
comma 44 2C , comma
hyphen 45 2D - hyphen
period 46 2E . period
slash 47 2F / slash
zero 48 30 0 zero
one 49 31 1 one
two 50 32 2 two
three 51 33 3 three
four 52 34 4 four
five 53 35 5 five
six 54 36 6 six
seven 55 37 7 seven
33
eight 56 38 8 eight
nine 57 39 9 nine
colon 58 3A : colon
semicolon 59 3B ; semicolon
less 60 3C < less
equal 61 3D = equal
greater 62 3E > greater
question 63 3F ? question
at 64 40 @ at
A 65 41 A A
B 66 42 B B
C 67 43 C C
34
D 68 44 D D
E 69 45 E E
F 70 46 F F
G 71 47 G G
H 72 48 H H
I 73 49 I I
J 74 4A J J
K 75 4B K K
L 76 4C L L
M 77 4D M M
N 78 4E N N
O 79 4F O O
35
P 80 50 P P
Q 81 51 Q Q
R 82 52 R R
S 83 53 S S
T 84 54 T T
U 85 55 U U
V 86 56 V V
W 87 57 W W
X 88 58 X X
Y 89 59 Y Y
Z 90 5A Z Z
bracketleft 91 5B [ bracketleft
36
backslash 92 5C \ backslash
bracketright 93 5D ] bracketright
asciicircum 94 5E ^ asciicircum
underscore 95 5F _ underscore
grave 96 60 ` grave
a 97 61 a a
b 98 62 b b
c 99 63 c c
d 100 64 d d
e 101 65 e e
f 102 66 f f
g 103 67 g g
h 104 68 h h
37
i 105 69 i i
j 106 6A j j
k 107 6B k k
l 108 6C l l
m 109 6D m m
n 110 6E n n
o 111 6F o o
p 112 70 p p
q 113 71 q q
r 114 72 r r
s 115 73 s s
t 116 74 t t
u 117 75 u u
38
v 118 76 v v
w 119 77 w w
x 120 78 x x
y 121 79 y y
z 122 7A z z
braceleft 123 7B { braceleft
bar 124 7C | bar
braceright 125 7D } braceright
asciitilde 126 7E ~ asciitilde
39
APPENDIX D: JazzyG Mapping
Jazz Symbol Symbol Name Decimal Hex
/Unicode Character Character Name
A 33 21 ! exclam
A flat 34 22 " quotedbl
A sharp 35 23 # numbersign
B 36 24 $ dollar
B flat 37 25 % percent
C 38 26 & ampersand
C sharp 39 27 ' quotesingle
D 40 28 ( parenleft
D flat 41 29 ) parenright
D sharp 42 2A * asterisk
E 43 2B + plus
40
E flat 44 2C , comma
F 45 2D - hyphen
F sharp 46 2E . period
G 47 2F / slash
G flat 48 30 0 zero
G sharp 49 31 1 one
- - 50 32 2 two - - 51 33 3 three - - 52 34 4 four - - 53 35 5 five
Left parentheses
54 36 6 six
Right parentheses
55 37 7 seven
Plus, augmented
56 38 8 eight
Hyphen 57 39 9 nine
Slash 58 3A : colon
Zero 59 3B ; semicolon
41
One 60 3C < less
Two 61 3D = equal
Three 62 3E > greater
Four 63 3F ? question
Five 64 40 @ at
Six 65 41 A A
Seven 66 42 B B
Eight 67 43 C C
Nine 68 44 D D
Eleven 69 45 E E
Thirteen 70 46 F F
Flat 71 47 G G
Sharp 72 48 H H
Natural 73 49 I I
42
- - 74 4A J J - - 75 4B K K - - 76 4C L L - - 77 4D M M - - 78 4E N N - - 79 4F O O - - 80 50 P P - - 81 51 Q Q - - 82 52 R R - - 83 53 S S - - 84 54 T T - - 85 55 U U - - 86 56 V V - - 87 57 W W - - 88 58 X X - - 89 59 Y Y - - 90 5A Z Z - - 91 5B [ bracketleft - - 92 5C \ backslash - - 93 5D ] bracketright - - 94 5E ^ asciicircum - - 95 5F _ underscore - - 96 60 ` grave
a 97 61 a a
- - 98 62 b b - - 99 63 c c
d 100 64 d d
- - 101 65 e e - - 102 66 f f - - 103 67 g g - - 104 68 h h
i 105 69 i i
j 106 6A j j
- - 107 6B k k - - 108 6C l l
m 109 6D m m
- - 110 6E n n - - 111 6F o o
43
- - 112 70 p p - - 113 71 q q - - 114 72 r r
s 115 73 s s
- - 116 74 t t
u 117 75 u u
- - 118 76 v v - - 119 77 w w - - 120 78 x x - - 121 79 y y - - 122 7A z z
suspended 123 7B { braceleft
Suspended second
124 7C | bar
Suspended fourth
125 7D } braceright
Fifth 126 7E ~ asciitilde
- - 127 7F controlDEL
? 128 20AC € Euro
- - 129 - -
Major 130 201A ‚ quotesinglbase
Major seventh
131 0192 ƒ florin
Major ninth 132 201E „ quotedblbase
Major thirteenth
133 2026 … ellipsis
Minor major seventh
134 2020 † dagger
Minor 135 2021 ‡ daggerdbl
44
Minor sixth 136 02C6 ˆ circumflex
Minor seventh
137 2030 ‰ perthousand
Minor ninth 138 0160 Š scaron
Minor eleventh
139 2039 ‹ guilsinglleft
Minor thirteenth
140 0152 Œ OE
- - 141 - -
Minor seventh
with flat fifth
142 017D Ž Zcaron
- - 143 - - - - 144 - -
Diminished seventh
145 2018 ‘ quoteleft
Seventh 146 2019 ’ quoteright
Seventh with
suspended fourth
147 201C “ quotedlbleft
Major seventh
with flat fifth
148 201D ” quotedblright
Major seventh
with sharp fifth
149 2022 • bullet
Ninth 150 2013 – endash
Ninth with suspended
fourth 151 2014 — emdash
45
Ninth with flat fifth
152 02DC ˜ ilde
Ninth with sharp fifth
153 2122 ™ trademark
Thirteenth 154 0161 š scaron
Add 155 203A › guilsinglright
Add two add
four 156 0153 œ oe
- - 157 - -
Major add nine
158 017E ž zcaron
Minor add nine
159 0178 Ÿ Ydieresis
- - 160 00A0 nbspace
Sixth 161 00A1 ¡ exclamdown
Diminished 162 00A2 ¢ cent
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