A knowledge of the rudiments of the art of music is essential to the
correct composition of music type; for, unless the compositor is
acquainted with the relative time-values of the notes and rests, he
cannot space them properly.
The manuscript copy is given to the compositor, with directions regarding
the dimensions of the page required and the size of type to be employed.
He counts the number of measures in the piece, and allots to each measure
the amount of ems in length which the page will permit, so that there
shall be a general equality of space throughout the piece.
In instrumental music, and in pieces which are not interlined with
poetry, the compositor will set two or more staves simultaneously,
ranging the leading notes in the lower staves precisely under the
corresponding ones in the upper staff; that is, a certain amount of space
in each staff, in a brace, must contain the same amount of time-value.
Where lines of poetry are interspersed, as in ballads and in church
music, the staves are necessarily set singly; and in composing the
second, third, and fourth staves the workman must therefore constantly
refer to the first, in order to make the staves correspond.
A good compositor will be careful to make the lines overlap each other,
brick-wise, and not allow a joint to fall directly under another. Masters
who aim to do cheap rather than good work have the music lines cast
double or triple, to expedite composition. Such work has a very slovenly
look, as the joints of the lines, coming under one another, are apparent
in the entire depth of the staff. We have seen books set in this manner,
in which all the lines seem to be composed of dotted rule, instead of a
continuous stroke.
The compositor should be careful to make the stems of all the notes in
a page of the same length, except those of grace-notes, which should be
about half as long.