More thoughts on the subject. If you are interested in trying hand calligraphy music with a fountain pen, you might run across a pen once marketed as a “music point.” Instead of the standard split point fountain tip, where the ink travels in the channel between the 2 split halves, it had three parts to the tip, and was quite flexible. If you pressed harder, the two outside parts spread out and made a wider stroke.
Don’t waste your time on this gadget. Use a standard italic point instead, and practice holding it.
We used to modify commercial points by grinding them to a desired shape with very fine sandpaper and other polishing agents, but the italic shape was the starting point.
As for inks, standard fountain pen black is too thin for a good, reproducable image, and india ink too thick to flow well in a fountain pen. We used to roll our own secret formulas, but I believe there now are “technical pen” inks that bridge the gap between too thick and too thin. Experiment.
Some copyists used rapidograph-style points, but those require holding the pen exactly vertical and don’t provide any natural shading. Whatever.
You may find examples of these pen styles in some music in the jazz field; low-volume printings often were just reproductions of hand work, and when the big publishing outfits started using computers, they emulated the hand style by making a font of some Hollywood copyists’ music characters. There are jazz fake books and other printed examples of this sold in music stores; if it looks like hand work, but the characters are much too regular, they are probably done this way.
And for those of you who think Finale is the only way to go, fine, if time is not an issue. For speed, I can hand-copy any music in less than half the time of a Finale copyist. The Finale user can make edits and prepare a final work that doesn’t look edited, however, not to mention such tricks as transposing and cut & pasting, where a computer excels.