NOTATIO

As I mentioned, I don't use a preset formula, because every piece of music is different. I let the page turns dictate the layout since I want what is best for someone playing from the score. Some publishers try to minimize the number of pages for financial reasons and will do whatever that takes, wi...

Hi db322014. You'll get a lot of different opinions on this, but I think that if this is a score that a instrumentalist will perform from, like a pianist, then one first finds the best places for page turns in all the movements, and let that determine the rest of the layout, with the number of syste...

Don't think that a tacet would be advisable. Personally, I would cue the entire second movement, especially the final bars before the attacca.
We were apparently posting at exactly the same time, OCTO.

On the other hand, I've never read an unkind word by Daniel Spreadbury about Finale.

Continued from the previous post. Schenker points out another wonderful case of meaningful stem direction in the Arietta theme from the second movement of Beethoven’s Sonata op. 111. At * the droning E in the ("second alto") voice drops out until it returns at the end of m. 12. Thus the so...

Thanks, OCTO. That's a lot better, but still not what I was looking for. Notat.io could be unique.

Thanks jrethorst. I just had a quick look and they are nothing like notat.io, unfortunately. I guess I am looking for a forum for professional music theorists.

I'm looking for a forum like Notat.io for music theory. Does it exist?

Continuing from the previous post. Beethoven's copyist took the composer's remark in the first manuscript about down-stemed octaves (see above) very seriously and wrote the following at X. Apparently he took the remark to pertain from X on; thus the up-stemmed octaves in the first measure of the exa...

Continuing from the previous post. Here is the same passage shown above from the later manuscript of the first movement of op. 111. In the earlier manuscript of this movement Beethoven had written the octaves with all the stems up; but, as Schenker points out in vol. 3 of Beethoven's Last Piano Sona...