I did this a few weeks ago: only a few things were finished in Affinity: the background, the ligatures, stem colour, and the oscillating multibar rests.
Everything else was plain Dorico.
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Beautiful, @benwiggy!
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Folks, MusChant is done and ready for final testing before public release!
If you’d like to try it out, DM me. I’ll send you the font file and the documentation.
Thanks!
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Bravo, Dan. Nitpick mode: If the prolongations are part of the font, the one on “ómnes” is coming out too close to the staff line. If you have a code that would place it in mid-space, nevermind.
Yeah thanks, I’ve been working on that. It’s a contextual single substitution and I can’t quite get the code to cooperate yet. I’ll get it figured out.
My first attampt at walking:
I have to admit, first I have to understand this whole notation style, but I’m already reading about it online. What better thing to do than to get through this topic for this beta test?
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It works very fine. I’m just testing with real repertoire. I just started with the first Antiphon of Tempus Adventus, and will go trough a lot of pieces in short time to see, where the system can be improved. So far it’s smooth sailing 
I have to think about the spacing, because this is still far to stretched, but this should be easy to solve with the right settings.
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You know, I have never written music like this, and I probably never will. But I just have to buy this font. It’s so great!
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I don’t think i’ll never write this type of music either, but those neumes are looking delicious 
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I never thought I would either; I always assumed that I would only use it to recreate extant scores. But wouldn’t you know it: I actually did compose something this way* after a dear one passed, and truth be told, I found it rather rewarding, and intend to do it again.
*That is to say, I actually was thinking in terms of square notes from the get-go, and only wrote the accompaniment after the fact.
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Replicating the venerable 1906 English Hymnal is now a breeze, hooray.
Edit: staff sizes are a bit disproportionate at the moment, but that’s just a setting.
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Nice job! Good to know I have an option other than Robert Piéchaud’s Medieval. Thanks!
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Dan: loving your work. Sorry I’ve not made much comment up to now. Obviously, the system is brilliant, and I’d love to try it out.
I’m sure there’s variation in styles of neumes across the lands and ages, but…
Is it me, or do the neumes look a little too wide? They are usually taller than they are wide.
And the upper note of a podatus is usually slightly narrower than the lower one. The lower note doesn’t curve the other way: usually it’s more of a square.
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I am testing this font as well and I agree with the spacing: it’s a tad too wide. On the other hand, I love it!
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Thanks for the feedback. I made the very conscious decision to make it wider than GABC, which I consider a bit sparse. I can change that, through it’s a huge amount of work.
I’m sort of hoping the answer might be “Try it for a while, it’ll grow on you.” But of course it needs to be accepted, and I don’t want the wider design to be a barrier to that.
Regarding the base of the podatus: this has been whack-a-mole. It seems there are quite a few conflicting opinions there. I do agree on the wider and more square base, which is what I had originally. I’ll change that.
Is this enough? I know it probably needs to be seen in context.
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This is very nice! What a little change can do!
Stupid, almost off-topic question: What Software do you use to create your fonts?
Thanks for the feedback. Yes, this was a 95% horizontal transformation.
I use Font Creator and have used it for all my previous font projects. I’m a huge fan, especially for its GUI that helps with scripting.
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Subtle, but a noted improvement.