NOTATIO

Hi all,
If I get the primary beam to hang, straddle or sit appropriately, I encounter a problem with the secondary beams. And vice versa.

From my reading on the subject, I understand I need to keep the top staff line clear. Any advice is welcome!
PS: I'm using Finale.

Cheers,
Hector.

Update:
After re-reading Ted Ross p.125, I explored the Secondary Beam angle tool (in Finale) and respaced the beams. Do you reckon I've got it right?
With thanks,
Hector.

Without thinking about this too much, my gut reaction would be to do it like this:


Innermost and outermost beams have a "legal" position, and there's a smaller gap between the beams than in your version.

I think FredGUnn nailed it.

That's great, thanks Fred and John.
Cheers,
HP.

Dear Brainstrust,

As you might suspect by now, I am attempting to improve my understanding of beaming rules (position / angle) with the Ted Ross book as my main guide.

I spent a long time today working this beam out. I still don't think I've quite nailed it..... I'm within the 1.25 – 1.75 beam angle range for the interval of the seventh (F-E), and I've kept a 2.5 space minimum between the closest note (E) and the fractional beam (inclusive), but I remain concerned that the ascending beam ends with a hang. If it becomes a sit or straddle, I lose the angle. Any tips welcome as I continue to grapple with it!
Many thanks,
Hector.

Update:
I think I've found another way which avoids a hang at the ascent of beam, and the beam angle is 1.75 spaces which is apparently within the satisfactory range. So, I think I'll proceed with this, unless anyone else suggests better!
Thanks to all for tolerating my geekiness

Cheerio,
Hector.

They both look fine to me outside of a specific context.

I think that beam angles are even more a matter of taste and personal approach when beams are not on the staff. There is also the matter of shortening stems when they are off the staff and by how much. Personally, I find this too complicated to deal with and allow Finale to do its thing with the help of Patterson Beams set to a maximum beam slope that fits the situation. Then I modify any beams by eye to fit better within the musical context.

Thanks, John! Appreciated. I'm 8 pages into the beam-editing of my score now and my beaming looks better for all the attention I'm paying to it and for all the helpful advice I've received here on the forum! Many thanks

Cheers,
HP.