NOTATIO

All of the composers I've worked with that came up in the pre-computer era have always written transposed scores. This is at least partially due to the fact that there was a 50% premium (under the NYC Local 802 contract anyway) to have hand copyists do the transposition, so it was much more expensi...

Of course! That’s one of the things I enjoy about this delightful little community.

So perhaps we should take some of the standard "rules" with a grain of salt. I take it you refer to the 'forest of rests' in Schenker's example? Forbidding dotted rests seems rather stiffly old-fashioned to me, so I agree with you there, John. That Schenker "forest of rests" mak...

I am guessing that you would accept what the composer requested from Anders IF there were another rest that followed, but not otherwise. Is that correct? I must admit that what the composer requested does not bother me as much as it would in 6/8 or 3/4 meter, for some reason. Maybe because of the l...

My understanding of rests, which goes beyond 6/8, is that it is preferred to combine the beginning of a beat grouping, but not the end. This is to preserve the quick identification of the location of beat groupings within a bar. The same applies to augmentation dots. The obvious problem case is illu...

It is common in jazz styles for a marcato articulation to be interpreted as both accented and short. That is not the traditional interpretation. It’s similar to how words take on slightly different meanings in a dialect of a language. Another example is how eighth notes are interpreted as swung (pla...

MichelRE wrote: ↑28 Feb 2023, 23:50 Is this simply evidence of a certain lack of musical literacy?

I don’t know your specific context; but in many cases, especially internet discussions, lack of literacy is often the cause.

John Ruggero wrote: ↑16 Feb 2023, 13:18 Now even choral music, which gave birth to polyphony, is often written as chordal blocks, further reinforcing this viewpoint. This is a great tragedy.

The sentiment behind this statement is beautiful. Bravo!

What you choose depends on the context; however, I would not use diamond noteheads, because those are commonly used to represent comping rhythm with no voicing information. You may try notating with solid, stemless noteheads at the chord change and then rhythm slashes for the rest of the bar. That w...

I find it risky to assume that players will know exactly what is intended in this situation. It may not be self-evident if they don't know the recording on which you are basing the arrangement. In my experience, tying one rest to another would invite questions from the performers. They may assume th...