NOTATIO

In orchestra scores I've often seen it below all other percussion.

I think that I would have to experience the VPC machine first hand, because from the descriptions, it doesn't seem substantial enough for my uses. I don't want to worry about pages falling out. Perfect binding would seem to be more substantial than the VPC system and yet pages drop out after some u...

How else does one conveniently bind parts that have more pages than can be stapled into one signature? Perfect bindings, gluing signatures together, taping, Gamble hinges etc. are all problematic, at least for me. Perhaps a new thread on binding techniques would be helpful. I use a slant style bind...

Spiral bound parts are a nightmare for orchestra librarians. They take up a lot of storage space and the spirals are always getting tangled up with each other. Spiral binding may be OK for solo or chamber music, but when you are dealing with 60 or 70 separate parts they are a major nuisance.

John Ruggero wrote: ↑16 Feb 2017, 22:10 Most of it is unobjectionable but on page 4 it says "Each bar should be numbered…" then on page 6 its says "Numbering each measure should be avoided…" What?

Page 4 refers to full score.

Page 6 refers to extracted parts

Makes sense to me.

It's the 2nd corno di bassetto part from Mozart's Gran Partita - Adagio. Most probably will be beat in 8. I'm tasked with transposing the parts for alto clarinet as we're lacking corni di bassetto players in deepest rural Lincolnshire! Are you sure you need to do this? The transposition is very eas...

I believe this is from Mozart's K.361 Serenade, in which case option C makes a certain amount of sense.

Take it from a long-time orchestral librarian: Never mark bowings in the part - even if you are a string player. Every concertmaster and/or conductor has their own ideas about how to achieve a particular effect or phrasing, and this saves the librarian from having to mark over printed bowings. On ex...

Not to mention librarians...

I do.