NOTATIO

In working on a Chopin Etude edition, I have found that there is less editorial intervention by his French publisher in correcting composer mistakes than his German publisher, but also less intrusion, which may explain in general be why French music is notoriously error-prone.

I am glad that you found my comments helpful, odod. Here are more concerning the Schumann: 1. I have my own rule regarding the correct distance between the staves of a double-staffed part: the two staves should be no further apart than is required to allow the material between the staves to be clear...

Aside from the ugly clefs and kerning issues in all of the text expressions, MM yields fine results. Bringing in the 8va and 15ma in the middle of the run looks quite strange to me. Wouldn't it be clearer to place the 8va and 15ma over the last notes only and connect with a single gliss line and wit...

odod, I think that your font is fine in all respects. Congratulations! I like the proportions of the accidentals, the clefs, the dynamic signs, the note size and the font used for the expressions. You have a fine default music font. I don't understand your issues using it in Finale etc. Perhaps othe...

The music engraving is also unappetizing.

I just posted concerning the engraving quality of a recent Henle publication, which they graciously published despite the critical nature of my comment. If anyone would care to chime in...

http://www.henle.de/blog/en/2017/11/13/ ... #more-4670

Schonbergian wrote: ↑15 Nov 2017, 14:56 Berg's early is beautiful.

Sometimes young composers try to imitate engraving at first to add credibility, since their music hasn't been published yet. After they are published, they settle into something more comfortable, and finally, with an established reputation, they just don't care!

Yes, Schonbergian, I was in my "Henle phase" at the time, but the clef could look very different as desired. Each experienced copyist had his or her own style, most more consistent and better than mine. I wish now that I had made copies. Some day I may go to the Arnstein Collection at Musi...

Here is a series of clefs (with shading) drawn with this method.

Apropos of the thread on composers's clefs. The first thing I learned when I started to work for Arnold Arnstein was his method for hand drawing a treble clef. When done well with an liquid ink pen, it produced a good and fairly consistent imitation of an engraved clef, especially if shading was add...