NOTATIO

An interesting sighting from the first edition of Ravel’s Scarbo. According one report, the composer wanted the passage to evaporate into thin air. As a result of this notation, I think the following music enters as if from nowhere, which is Scarbo's modus operandi. I think Ravel came up with an exc...

Thank you again for your kind words, Shinianqi. I am glad that my posts have been so meaningful to you. For me, context is everything when it comes to certain matters of engraving, like beam angles. So I have great difficulty with the isolated examples that one sees in tables like those in Ross. I t...

Dear Shinianqi, Thank you for your compliment, which really made my day! I guess I take a position on beaming somewhere between your view and the one that one sees currently from the major European and American publishers. As you know, I prefer the beams to follow the notes as much as possible, for ...

Peter Bengtson, thank you taking my comment in the spirit in which it was given. Although I started "...THE Donald." with some trepidation, it was more helpful in understanding what you are doing. Posts aimed more at musicians than programmers and filled with musical examples would bring m...

Is the size of the bar numbers an issue on the parts, full score, or both? I'm trying for a larger size as I'm fairly sure any printing will be done at a4, so I don't want them to be too small on the full score. Either way they do stick out, so I'll try some things. The parts. The size looks fine t...

I think that your work is outstanding, and it is clear why you were asked to do this project. I noticed just a few things that you might consider. 1. Placing the measure numbers directly over the clefs would avoid any conflict with the music itself. And some might find them slightly too large. Itali...

Congratulations! What software are you going to use? An example might be helpful to those making suggestions.

What a story! I wish him better luck this time. Maybe it will be the first GUI program that will give users complete control over both slurs and octave extension lines. But, I couldn't make head or tail out of OOLOI; it's all in computerese. Even the name made alarm bells go off.

Here is a possible explanation of this notation. Most of the piece moves at a slow pace of about :4 = 60 with the accompaniment in constant 32nd notes. At the end of the piece a kind of recitative section enters Trés lent (see example above). Then the Rapid et brillant cadenza-like passage bursts in...

Here is the beginning of the piece
and the music immediately before the example in the OP, which could have a bearing on the issue: