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

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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.

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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.

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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

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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

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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

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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.

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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

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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.

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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.

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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

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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

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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

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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

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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 ΠOE

- - 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