NOTATIO

You are very welcome, Neera. I responded to your comment above regarding Beethoven's op. 111 in the thread called Beethoven Stems 7.

I also wanted to respond to your comment regarding the op. 111 stemming from the thread on Debussy's Suite Bergamasque: I cannot say if it is only the rules, but to me having the stems up without something else causing it is highly disturbing and would not help my reading or understanding of the mel...

Great questions, Neera. Thanks so much! b 87 if the B is the tenor voice, why is there a rest in the left-hand, below the bass note? Perhaps to keep the rest and the next note together. Also see below. Wouldn't it make sense that the B was still the alto voice and the rest and lower B in beat 2 were...

The A flat is part of the bass line so its stemmed down just like the note it comes from, the A flat dotted half note at the beginning of the measure. That's correct, playing the A flat with the right hand makes legato impossible. In fact, even without the A flat, it's difficult. The following intri...

That is actually a wonderful example of what I have been talking about. Debussy is telling us that something special is going on here: the high A flat is an important melody note that would have been played by the right hand on top of that right hand chord except that it is unpianistic to do so and ...

The last installment of Beethoven Stems 7 is pretty clear cut and deals with the exact issue you brought up. Beethoven omits rests in the alto in ms. 10-11 of the Arietta from op. 111 and continues up-stemming the upper voices against the "rules", just as in your first example. Yes, the ar...

I have come to the conclusion that Debussy liked to omit rests while keeping the effect of the stem direction change. Interesting. I just wrote a post about this in regard to Beethoven. It's a natural thing to leave out superfluous rests since in piano writing, voices come and go freely. There is n...

As I mentioned, I don't use a preset formula, because every piece of music is different. I let the page turns dictate the layout since I want what is best for someone playing from the score. Some publishers try to minimize the number of pages for financial reasons and will do whatever that takes, wi...

Hi db322014. You'll get a lot of different opinions on this, but I think that if this is a score that a instrumentalist will perform from, like a pianist, then one first finds the best places for page turns in all the movements, and let that determine the rest of the layout, with the number of syste...

Don't think that a tacet would be advisable. Personally, I would cue the entire second movement, especially the final bars before the attacca.
We were apparently posting at exactly the same time, OCTO.