NOTATIO

In the example above the staff lines and stems are way too thin to match with the font characters.

much like a house style, publishers could have a document that could be followed, making sure music was entered correctly, according to their standards. This is interesting to me. In a text environment for music entry (such as Lilypond) I’m starting to imagine there could be a validation algorithm ...

Similarly, to divide anything doesn’t necessarily imply equal divisions. A triplet is “3 in the time of 2” and to me it seems that definition can include the concept of 8+7+6 proportion as well as 1+1+1 … especially in solo music.

As I said briefly in the other thread, I’ll say more fully here. See Wikipedia on Fair use . Nobody’s selling anything here, nor can it possibly be construed that these excerpts allow anyone to use a copyrighted work without purchasing it, so no one’s losing sales either. The most we are giving away...

Ach – My apologies for denigrating your work, John! I assumed it was that critical edition. I should have seen that it’s made from a screen capture rather than a scan. (It seems to me that scanning a mere couple of bars of anything constitutes “fair use”.) Okay, since it’s your work, some other ques...

I agree that the added tuplet numbers are unnecessary and possibly misleading about freedom. Also the 8-7-6 grouping is very interesting. I hadn’t noticed it before, and it makes perfect sense since arpeggiating upward in the LH is easier than downward. As for Gould’s definition of a tuplet, “Everyt...

I agree with John’s descriptions of Liszt’s notational purposes. While a bass clef E is a bass clef E whichever staff you print it on, the visual effect of making it an inner voice in the left hand (presumably) The first bar is indeed played by RH. Notice, in the original edition, the bar rests in t...

Something else jumped out at me the moment I looked at Knut’s example: The angle of those beams is so steep that both the beams and the spaces between are noticeably thinner than normal. Like using a “shear” tool in a graphics program. (See Making Notes, Part 10 , the subhead “Shearing vs. rotating ...

I’ve only ever seen them in French engravings. I quite like them for sustaining long &/or complex chords. Mainly they reduce clutter. As a player, you always read ahead far enough not to be surprised.

I'm interested in the secondary beam break issue. Sibelius can break all but the primary beam, but it has never been able to leave more than one beam unbroken while breaking others (short of faking it with a line).