NOTATIO

I'm wondering if the specific "O with dot below it" character used in the "Number" abbreviation in the titles of scores like this is still around in the digital age: https://i.imgur.com/8gvMf2P.png I swear I've found it in the past, but can't seem to locate it nowadays. I am aware of the ordinal Nº ...

I prefer the Beethoven/Chopin style as it instantly clarifies the technical situation. In your Brahms example 6, I would have assumed at first glance that the technical intention was to hold the quarter notes with the fingers full length as it would have seemed to be possible with his hand span.

My view is: Composers will indicate pedaling where it is required for a certain pianistic effect or where it is specifically not wanted (and, for instance, in Beethoven Op. 79, lack of pedal can be implied from where it is otherwise indicated in parallel passages) Other pedaling is entirely up to ta...

What I meant by that is that Finale is more of a tweaker's software, whereas Dorico is focused on giving you the best possible experience out of the box and generally behaving more like a computerized engraver than a music notation tool.

Dorico also fixes more un-fixable issues with Sibelius's notation than Finale's, and to my knowledge the design philosophies are more similar as well.

John,

How are we to view this passage from the Op. 10 No. 1 sonata, where legato by means of finger connection alone seems impossible?

Having played this movement from the Schenker edition so many times, I never would have noticed this detail of voicing before; but, looking over the remainder of the score and precisely how the motivic fragments are used, it makes perfect sense. More and more, I feel as though I am "robbed" of great...

What is the notational purpose of the double-stemmed first sixteenth note of the left-hand groupings? I understand the meaning later when that note should be held throughout, but I don't quite understand why he would double-stem with equal durations.

We have scores for a reason. Part-books for singers were phased out for a reason. If we can at all obtain the context, it is unbelievably helpful. I see this as useful for historical work and goofing around only, and I say that as a singer who predominantly works in Renaissance music nowadays. I wou...

Might I ask why, in the final bar, you slur on the note-side rather than the beam-side? Just to keep the continuity of appearance?