NOTATIO

I'd try to show a little bit of an extension line in those tied notes: bb. 60, 63. I did a bit of work for a publisher recently; and while their output is not generally anything to shout about, they were insistent that there was always the slightest bit of an extension line, even if it meant moving...

Older scores would often place the dynamics on the stave to solve this sort of issue. I believe it is a very favourable solution.

I prefer the voices to be split in hymns, as is done in all the highest-quality English hymnals. It makes reading the independent progression of each part much easier as a singer.

It continues to astound me that these works are not more well-known by pianists today. As an outsider to the piano world, it always seems like anything before Beethoven and Schubert (with the exception of Bach) tends to get the short end of the stick. I wonder how much of that is the issue with edit...

Generally I find most piano fingerings for Baroque music to be over-fussy, but the simplified fingerings that one can use on the harpsichord and organ are not always practicable because the modern piano takes longer to speak and variety in articulation is more easily expressed through force rather t...

Vierne, Pieces de fantaisie - Cathédrales:

Widor, Symphonie No. 7:




If played as written, the passage is practically impossible, let alone playable with any sense of legato. Divided intuitively, it is straightforward.

But in my experience, the note distribution in piano music written by the finest composers (=great musical thinker) who were also fine pianists is almost always the best distribution. The reason is that they didn't compose music and then fit it to the hands of a pianist. The composition and the act...

I would remove the rests in the latter third of the measure as they add visual clutter and the beaming already conveys distribution between the hands.

I agree with John—his notation is much simpler and conveys just as much information.