Hi David,
Thanks. That’s a very illuminating article from Mr Spreadbury.
I gather, then, that beam-quanting is the method used by lilypond to achieve
the cardinal rule of Ross:
"The placement of a beam follows the cardinal rule that when it falls within
the staff, its ends must either sit [on], hang [from], or straddle a staff
line, whether the beam is single or multiple."
This article also, I believe, answers my very question, why my sets of eight
sixteenths mostly come out flat beamed.
"The beam is also horizontal if the notes in the group are in a repeated
pattern of pitches;…”
These written out early baroque ornaments are obviously the type of repeating
group referred to, so it looks like lilypond honours this convention also. The
attached code illustrates the flattened beams. It does however raise the
question as to why the second group with stems down have a slope, unless my
eyes deceive me.
Andrew
— snip
\version "2.19.33"
{
\clef treble
g'16[ f' g' f' g' f' e' d']
\stemDown
g'16[ f' g' f' g' f' e' d']
}
— snip
On 8/12/2015, 17:25, "David Wright" <[email protected]> wrote:
I presume this is to do with Ross's Cardinal Rule; have a look at
http://blog.steinberg.net/2015/03/development-diary-part-10/#more-928
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