Klaus Rettinghaus

Just for reference, I noticed that this is available in [November music font](https://klemm-music.de/notation/november2/examples/November2_Presentation.English.pdf) (as `augmentationDotDiamond`).

I wouldn't expect there to be half a dozen different glyphs, just one. I just wanted to point out that it does indeed have a different meaning than the available...

Since the counterpart for common notation (augmentationDot) is in the "Individual Notes" range, I would still prefer the corresponding "...Individual Notes" range for consistency.

Actually there are reversed accents in printed editions, mostly in the Lied repertoire. So I recommend to have them in SMuFL too.  This comes from Pauline Viardot Garcia's ''Ruhige,...

I think it should still fit into normal `Articulation` range, but we can add them into `Articulation supplement`.

I thought about this and discussed it with some colleagues. Although it wasn't used too frequently, it indeed seems to be different from a regular accent. So far it was...

Somewhat connected to this: we now have two `caesuraSingleStroke` in the _Holds and pauses_ range, one in the main range (U+E4D7) and one as a stylistic alternate (uniE4D1.salt01).

In most cases the symbol for "beat" resembles a small handwritten m:  However, there are multiple occurrences in the original print that are less accurately drawn:   ...

There is no `dynamicSforzato1`, but instead it's called `dynamicSforzando1`. Actually there is an inconsistency in the naming: `dynamicSforzando1` for _sf_ matches `dynamicRinforzando1` for _rf_ but while _sfz_ is called `dynamicSforzato`,...

Another thing: is there any particular reason why `meterSigGrp` cannot be made invisible as whole? Each part `meterSig` can be rendered `invis`, but there is no way to say this...