NOTATIO

I find Baerenreiter's unstylized roman dynamics to be unpractical as they simply don't stand out on the page as "dynamics" to me, as just one example of how this kind of innovation might diminish our ability to easily recognize these symbols.

Re: triplets - John, I follow your logic when it comes to the second example of the E-flat being a structurally different voice than the C and D-flat; this also explains the different division of notes between the staves. However, this doesn't make as much sense in the first example and I fail to se...

I'm not sure how that can be seen as an improvement unless the grace notes are entirely in time and on the beat.

I'm not too familiar with this form of graphic notation, but is there any need for the re-iteration of the notehead at the beginning of each bar? That would definitely contribute to confusion on my part, even with the tie on the diamond notehead.

Although I haven't examined the literature on this point, I find 155a/b to be more intuitive than simply continuing to number straight-through.

Perhaps not Beethoven's exact intention, but would combining the first eighth notehead of that measure with the dotted-half notehead not achieve the same goal of presenting the lower instrument entering without the difficulties of a centered beam? It would also allow said entry to preserve all down-...

Redundant lyric extenders at i.e. alto m. 7-8, where the word is already long enough to cover the melisma.

Measures 33-36 need more even spacing so they're not driven apart by the words.

To some degree it looks like it's necessitated by the flat, but I agree that it is exceptionally difficult to read at first glance. All of those notes should be more evenly spaced out.

In my view, Finale is only good for those interested in the kind of endless tweaking we do, as the default output is borderline unusable. MuseScore is almost as customizable, provides much better default output, and is free, so why would a part-time engraver not interested in minutiae ever want to p...

I've seen the vertical bracket in piano music for large chords, which is often impossible to follow on precisely those chords because of hand size. I wonder if the same issue might crop up in harp music. Could John or another keyboardist/harpist with more experience chime in on why this symbol is so...