NOTATIO

It's controversial, so I shouldn't have said it is "generally played" like the composer played it. As you said, some pianists strike a compromise and play the 3/2 in a faster tempo to make it more "fluid" but not at double speed. And I am sure that some play exactly what is writt...

I agree and don't think that it is correct at all. Better would be 6/16 =3/8, the way Debussy did it, or nothing at all. But that brings up the famous controversy about Debussy's Prelude...Engulfed Cathedral. He appears to be saying that the quarter note is constant throughout. But in his own record...

Beethoven would have loved it and covered every square inch of his apartment with it. As a freshman in college, my buddy had one and I would borrow it to put examples in essays. It definitely required a knack.

And great for cutaway scores.

Just saw this, Neera. I don't have the foggiest, not being a string player, but I have long thought that a book that dealt with questions of this type would be very helpful to a wide range of musicians, editors, scholars. That is, a History of Western Music Notation from, say, 1600 on. There may be ...

In his piano music, Mozart also used the notation seen in the Ries Sonata in Neera's interesting post above. Musings: Some arpeggios are ornaments and have the usual rhythmic issue of ornaments; where to start them. If the ornament starts on the beat, it has a more rhythmically or melodically emphat...

I believe you are correct about the difference. Here is a case where Chopin is distinguishing slower "demonstrative" rolled chords (with the squiggle) from those that are forced by the large spans (without squiggle) and should be somewhat concealed: Chopin op 48 no 1.png For some reason, I...

Since the piece is tonal, the older convention might apply in which one would use the notes in the diatonic major scale in preference to chromatic replacements both ascending and descending. So G# instead of A flat, C# in stead of D flat etc. I also replaced E flat with D# even though it's not in th...

That seems like a good approach. I'm wondering of Dorico would make it easier or harder to do since it is oriented toward players rather than instruments.

During my days with Arnstein, I think he did them all and loved doing it.

Arnstein always prepared the percussion score himself and considered it to be the most interesting and demanding part. He was firmly against anything except a score (no matter how the composer had divided up the instruments) for the reason mentioned. The players of each orchestra may well want a dif...