NOTATIO

Harpsichordmaker, thank you for your first message and providing this information. From your experience, it is clear that I have misjudged the book. My misimpression is probably the result of reading the Introduction only. A practical work on this subject is something that I sorely need, and I will ...

Knut, I certainly agree with you that everything should be done to facilitate matters for the player, even if that means leaving out measures. However, in my opinion, the part must meet the following rule: A competent player without any knowledge of the piece other than what appears in the part shou...

You are very welcome, erelievonen. Somehow, I had forgotten about these parts and was happy to have found them. Yes, the strange multi-measure rest might have been an experiment, or an undocumented bygone style. It was not like him to experiment with things like that. We always used the standard one...

For the record, I recall no mid-movement taceting when assisting Arnstein. It would have been completely counter to the kind of clear orientation he was trying to provide to prevent the player from having to write in their own cues. The fact that conductors are squeamish speaks volumes to me; it cer...

I forgot to say that this thread is a great idea! Also, I don't understand the double bar at the beginning of the cue. Does this mean a key change? Or an indication of the missing music before the cue? And what about a time signature? One of the problems with innovating in this way is that unsuspect...

I think that it would be much better to show the entire movement with cues at the beginning, middle and end. After all, it's only 40 measures long and linked to the next movement. It doesn't matter that the instrument doesn't appear in the score in this movement. And actually, if this is a set of ma...

There are numerous reviews of the book if you have access to JSTOR, OCTO. In looking through the reviews, which are generally positive with some reservations, and the preview of the book itself online, it appears to be a philosophical discussion of music editing, which is why there are so few musica...

Thanks for calling attention to this book, OCTO. It looks like a book that I should own, but it only has 25 musical examples. That gives me pause.

Here are examples by Arnstein himself from a complete set of parts that I own for the Liszt Malediction for piano and strings. I used these parts for a performance, and, as usual, they came back clean with only bowings and fingerings added. His style of calligraphy is interesting: rather than trying...

Usually, the sfz is placed under the main note when there are preceding grace notes, because it is the main note that is to be accented, not the grace notes. If the grace notes and the main note are all to be accented, then this is very unusual and a creative solution must be found since we do not h...