-
-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 upper
-two measures are printed with this correction, the lower two measures
-without, forming down-stem/@/up-stem clumps of notes.
-
-@cindex typography
-
-Musicians are usually more absorbed with performing than with studying
-the looks of a piece of music, so nitpicking about typographical
-details may seem academical. But it is not. In larger pieces with
-monotonous rhythms, spacing corrections lead to subtle variations in
-the layout of every line, giving each one a distinct visual signature.
-Without this signature all lines would look the same, and they become
-like a labyrinth. If a musician looks away once or has a lapse in
-concentration, the lines might lose their place on the page.
-
-Similarly, the strong visual look of bold symbols on heavy staff lines
-stands out better when the music is far away from the reader, for
-example, if it is on a music stand. A careful distribution of white
-space allows music to be set very tightly without cluttering symbols
-together. The result minimizes the number of page turns, which is a
-great advantage.
+@cindex spacing, regular
+
+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 upper two measures are printed with this
+correction, the lower two measures without, forming
+down-stem/@/up-stem clumps of notes.
+
+
+Musicians are usually more absorbed with performing than with
+studying the looks of a piece of music, so nitpicking about
+typographical details may seem academical. But it is not. In
+larger pieces with monotonous rhythms, spacing corrections lead to
+subtle variations in the layout of every line, giving each one a
+distinct visual signature. Without this signature all lines would
+look the same, and they become like a labyrinth. If a musician
+looks away once or has a lapse in concentration, the lines might
+lose their place on the page.
+
+Similarly, the strong visual look of bold symbols on heavy staff
+lines stands out better when the music is far away from the
+reader, for example, if it is on a music stand. A careful
+distribution of white space allows music to be set very tightly
+without cluttering symbols together. The result minimizes the
+number of page turns, which is a great advantage.