NOTATIO

A comment on the last post.

If a composer would have written two "dim." shortly after each other, the reader would probably see it as an oversight, or an unnecessary reminder. Two hairpins of the same kind following each other seem to be more intended, interestingly enough.

... this would be a true subito effect that happens the instant the hairpin begins, which is what makes the small diminuendo hairpin correspond to our present accent mark. This subito effect would mostly be the case with individual hairpins. Paired hairpins to show a swell (messa di voce) maybe les...

Is the double-stop the same for both sections of the divisi? If so, I would, for the sake of clarity, write the double-stop with double stems, and after that a 'unis.' with single stems. (No bracket needed.)

Octo, we are all different, with different needs and different inclinations. I'm rather fluent in transposition up to a point, but even if it would be nice to be better at that, as with anything, there are so many other things I'd rather develop as a musician. So, for me, writing scores in C is not ...

The laziness of this topic equals learning G clef only and expecting everything else outside it to be written in octave (8va). The bass clef is visually transposed G clef, and vice versa. Just learn damn transposition. It is as difficult as learning riding a bike. Octo, why so harsh on us who haven...

This post had been reported before I tried to. Obvious junk mail. Please remove!

benwiggy wrote: ↑28 Mar 2024, 08:42 I'm ever thankful that voices aren't transposing instruments...!

Well, not supposed to be anyway.

Thank you for actually giving me an answer to my question, John! Your explanation of why this rule has become a rule is rather plausible, I think. I still wonder why it has become such a hard rule - at least in some quarters. In the 20th century scores I looked into, there was a number of 'inconsist...

By the way, with kind help from my client, the publisher, the composer at last agreed that my pragmatic treatment of tuplet indications were quite OK. Or quite good even.

I'm still curious about the origin of 'the hard rule' however.

Your general survey of the evolution of music notation is pretty much what I think myself, and not really what I was asking, Shinohara. My question was much more specific. When and why did the basic rule of tuplet placement emanate? Possibly it's impossible to find an answer to that question, but I'...