On Tue, Dec 9, 2008, David van Ooijen <[EMAIL PROTECTED]> said: > Clarity above clutter is a common factor in many postings.
agreed, clutter is bad for legibility. Grids can be good, when the music has a regular pulse that is shown clearly. Sparse flags can get me lost, the occaisional redundant reminder is good, say, at beginning of each bar. Regular spacing uses the paper best, some musicians have a preferrence for proportional spacing as is seen in engraved editinos, but that is a huge can of worms and endless tweeking. Useful when polyphony is shown by notes with real duratinos; but in tablature we obscure the actual durations of polyphony (when it is present), so I prefer a denser display, for me there is no gain to spreading the longer 'chords' further apart. I can number my own measures, markup my own fingerings, and add my own ornamentation marks in my own systems thank you. Landscape vs portrait is in part an issue of what stand I am working on and how I am organizing it. I might be working from a tall fakebook, or a wide edition - playing on both wind and plucked or perhaps singing; If the book is wide, tall music (not necessarily tab) placed behind and projecting above (legal longways) lets me switch between both as desired; maybe a wind player stands behind me sharing the stand... Dont be despayrd ye publishers, I can always take the originals to a copyshop and make what is necessary for that performance. > I'd like to know what people think is > beautiful tablature. For magically clear french fretglyphs I think Granjon's font is the best first used on the continent for a variety of cittern and lute tab, and also in england - Kingston used it in 1574 for Le Roy's _Instruction...Lute_, and Wm Barley used it in the 1599 print of Richard Alison's settings of the _Psalms of David_. It is rare to have distinct small round miniscule a, c, e, but granjon achieved that. -- Dana Emery To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
