NOTATIO

Both Ross (pg 115-117) and Gould (pg 22-24) are prescribing a flat beam if the the Ab is a G#, and that still makes sense to me, but it's the enharmonic factor that throws me off. I think I'm fine with the top example I posted, but with a G# I'd definitely prefer a horizontal beam here.

Thanks! If the last two notes of the first bar were reversed, A natural to Ab, it wouldn't have even occurred to me to change it, and if I spelled the Ab as G# then of course it would be flat as the shape is concave. https://live.staticflickr.com/65535/52061696347_4ca6a09f85_c.jpg This one just sort...

There was a recent thread on the Dorico forum about flat beams so I guess they were on my mind when I stumbled upon this example today while writing some patterns for a student. https://live.staticflickr.com/65535/52062599921_60447bf43b_c.jpg Seems pretty straightforward, but the fact that the line ...

Stumbled upon this cool list of music notation software for musical systems other than Common Western Notation:
https://silpayamanant.wordpress.com/mus ... -software/

To make the beam starting with the main rhythm would best readable for me. But I have one professional against me. He likes to put the beam like the syllable are going. So he suggests the single flags is right for my example. This is archaic notation that has been abandoned by almost every publishe...

Do you apply this also to 16th notes in 3/8 meter, as I think Arnstein did? And do you apply it only to instrumental parts? I find the following very strange: No, I wouldn't do it there, and I agree that looks odd. I'm not sure exactly how to explain the difference though. I wouldn't do it even if ...

1) Top example is fine, but I personally never beam 3 eighths together to avoid any possible confusion with a triplet. Many publishers may think this is ok, but I usually wouldn't do it. 2) Middle example is just wrong. If you are going to beam 2 together, you have to show the final beat of the pick...

Given the choice, I never use parenthesis around an accidental. One composer I work for insists on it for cross-relations so I do that for him. There are a few jazz composers who use them for conflicting accidentals within a section too. If Trumpet 2 has an F# and Trumpet 3 has an F, you'll sometime...

FWIW I've often written C and no performer has ever made comment of which I've been aware (for or against). Depending on what's going on in the other parts I might also write either A or B. I think all 3 are fine, I was just curious what the current preferences were. I've had several clients who in...

The other is something like this: ... It's a very common rhythm in Early music. Ooof, it might be common in early music, but I don't think I can get on board with that one. I would always do that one like this in 4/4 unless there was a specific reason not to (like really 2+3+3): https://live.static...