lilypond-essay: Optical spacing
Optical spacing
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In spacing, the distribution of space should reflect the durations
between notes. However, as we saw in the Bach Suite above, many modern
scores adhere to the durations with mathematical precision, which leads
to poor results. In the next example a motif is printed twice: the
first time using exact mathematical spacing, and the second with
corrections. Which do you prefer?
[image src="" alt="[image of music]" text="image of music" ]
[image src="" alt="[image of music]" text="image of music" ]
Each bar in the fragment only uses notes that are played in a
constant rhythm. The spacing should reflect that. Unfortunately, the
eye deceives us a little; not only does it notice the distance between
note heads, it also takes into account the distance between consecutive
stems. As a result, the notes of an up-stem/down-stem combination
should be put farther apart, and the notes of a down-stem/up-stem
combination should be put closer together, all depending on the combined
vertical positions of the notes. The lower two measures are printed
with this correction, the upper two measures, however, form
down-stem/up-stem clumps of notes. A master engraver would adjust the
spacing as needed to please the eye.
The spacing algorithms in LilyPond even take the barlines into
account, which is why the final up-stem in the properly spaced example
has been given a little more space before the barline to keep it from
looking crowded. A down-stem would not need this adjustment.
Info Catalog
lilypond-essay: Music fonts
lilypond-essay: Engraving details
lilypond-essay: Ledger lines