Double Beam
The example above is a part of my engraving work in
the last year. As this is a melody score, it might seem
to be good enough simply with notes input and a rough
spacing. In fact, some modifying is still indispensable as
long as one seeks for the tradition of music engraving.
Normally, the width of any beam is a half space and
the distance between each beams is a quarter space. Default file bundled in Finale has this initial setting both in
English version’s Maestro Default and in Japanese version’s Kousaku Default.
Beams of two or more are called multiple beams and
those for sixteenth note are double beams. Mr. Ted Ross
spends many pages for the analysis of double beams and
shows the process of engraving them in his book as they
are used most frequently of the multiple beams.
When we create a score with that setting, the secondary beam which represents sixteenth note ends in a
space in some case due to the placement of notes. The
example above is adjusted manually while the one below
is just based upon initial setting of Beam’s Max Slope of
24 evpu without any edit.
The rule is not so easy to recognise. However, it is able
to be applied for an actual score creating immediately if
one understands it because it is very logical. The principle could be said quite briefly that each ends of each
double beams should touch a staff line as well as single
beam for eighth note.
In default, secondary beams float within a space where
indicated by dotted lines. Particularly small wedges between the third staff line and secondary beams in first
two measures are naughty - - - - Aren’t they ?
The adjustment in this case is to make use of the
widths of beam. It is to raise a primary beam which
hangs below the second staff line so that it is centered
on the line. Actual operation in Finale is to shorten stem
The last example is quite unique. Not only avoiding
beam float, this score also prevents a staff line from
invading the white space between two beams. This is a
house style of German traditional publisher, Henle.
White window becomes more prominent in this way.
The compensation for this is a slant of beam. It must be
very little when in staff lines and may not be too much
even when out of staff lines in order to keep a balance
of whole score. I do not apply this style in my engraving
Although I could not reply properly if somebody says
“Well, what’s really wrong in that default then?”, the
deference between those two is not very little for me.
length of whole beamed notes for 6 evpu by “Beam
Angle” of “Spacial Tools”.
One big question is on the first beat of the fourth measure. The secondary beam is floating indeed, but beam
slant looks natural on the other hand. This will be up to
some compromising choice as one is incompatible with
another. The slant will be forced to be too much or too
little if floating beam is not acceptable by all means.
work because it seems to me that editors will not appreciate it. Nevertheless, this attracts me so much that I am
studying the style personally.
Anyway, those adjustments are terribly time consuming by manual work. Actually most of them are able to
be done almost automatically in Finale’s present version
although correct knowledge and good eye for final edit
are indispensable as that sub-program sometimes creates
an awful feature.
Masahiro Umemoto Mar. 2008