For some time, I've had a font for titles which I like a lot (Cochin Archaic) and I've come round so far to the principle of distinguishing markings within the stave systems (lyrics, tempi, expressions, various devices all items that require player interpretation) with a serif font from text external to the stave systems (information and instructions that are given rather than interpretable: names of instruments, measure numbers, clocktimings, the word 'score', the copyright line) which is done sans serif.

In my own scores, I'm slowly getting closer to a satisfactory default engraving style. I believe that the Stockhausen Verlag uses Optima as its house titling font, another part of the distinctive look. The scores of Karlheinz Stockhausen, from his own home-based publishing house, use both music and text fonts designed, to Stockhausen's specifications with the text based upon his own handwriting, by James Ingram. A font based on John Cage's best text calligraphy has been available for some time, as well (it's here I believe, however, that some of the glyphs in the 'extras' set are actually from drawings from Thoreau's Journal that were used by Cage in works). Composer-novelist-all-round talent Carter Scholz made a suite of text fonts based on calligraphic designs of Lou Harrison (they're available from Frog Peak Music). Why not try, instead, to use fonts that visually complement the sensibilities of your music? If you have the skills, make - or have made for you - your own fonts, ideally for both text and notation.

Use of the out-of-the-box settings may be taken as a signal the composer is unengaged with the appearance of the score and those New Roman Times are very 1995, if you get my drift. Even more unsolicited advice to young composers: if you use a computer engraving program, don't use the default text fonts.

A good word music font