NOTATIO

John Ruggero wrote:Your solutions sound much better than the Boulez. Here are a couple of other alternatives:

I can't remember seeing that kind of combined trill and tremolo notation. Isn't the trill line unnecessary in this case?

I threw it in for fun, Knut, knowing that someone was going to comment on it. I do think I've have seen it somewhere (but where?) as a way to say that the tremolo is unmeasured. And it might also give more continuity in replacing the ties, if someone felt that the player might accent the downbeats. But it could be easily omitted. After all, who would accent the downbeats in a situation like this without accent marks? But has someone else seen this before? In piano music maybe? Liszt?

Ah, I see!

I would definitely have done it in the same way as OCTO.
Also, I can't imagine that all three voices share a staff in the original instrumental part, but who knows.

I prefer making trills instead of tremolos, John. It saves space and reflect the exact rhythm.

They seemed to have been a fad in Paris in the early 20th century, but are no longer used as far as I can tell. In the 3rd example (given the trill notation), it seems to make sense, but would be far clearer if there were a short tie from the first note too, to warn the player.

OCTO., I think your version with a single trill is best; I think most musicians feel a difference between a trill and a tremolo. Peter's suggestion seems advisable as well.