Am 20.06.2015 um 00:39 schrieb Nick Payne:
On 20/06/2015 08:30, MarcM wrote:
i played with the kneed beam settings but could not find a way to
reproduce
this kneed beam from Bach.
Is that feasible?
<http://lilypond.1069038.n5.nabble.com/file/n178005/kneed_beam_Bach.png>
\version "2.19.21"
{
\once \override Beam.positions = #'(-2 . 2)
b'8 a'' g'' b'
}
I’d prefer something like
\version "2.19.20"
\layout {
\context {
\Voice
\override Beam.auto-knee-gap = 1
}
}
{
b'8\stemDown a'' g'' b'\stemUp
}
– however, it doesn’t work… (Why?)
So generally speaking: I share your fancy for Bach’s handwriting(1) and
I also like to have more kneed beams than Lilypond does by default (my
standard style sheet has an auto-knee-gap of 2.5, with the default being
5.5). But for different (stylistic and technical) reasons I don’t think
it’s possible or advisable to imitate such a handwriting with Lilypond
more closely:
– The use of straight beams instead of curved ones.
– As can be seen in your example, Bach has been extending stems beyond
the beam where they would else have become too short. This has reasons
both in aesthetics, as I think, and, more importantly, in legibility.
Such a possibility would have yet to be incorporated into Lilypond :-)
Others may be added, such as different conventions using clefs and
distance between staves and staff-changing &c. pp.
– The scarcely limited striving to save space is relativised.
– Finally, the individuality and subtlety of handwriting cannot, or not
sensibly, (?) be reproduced by algorithms (which leads to much more
basic questions…). Also the goal is a different one with both the
hand-engraved scores in the zenith of their art, and Lilyponds
engraving, for which they serve as a model: it’s to be ultimately
legible, balanced and somewhat objective (beauty notwithstanding :-)).
Happy engraving!
Yours sincerely,
Simon
(1) (and I try to emulate it (somewhat) in my own handwriting. Though, a
great difference also comes by not using quill and ink, but pencil and
modern paper :-)
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