NOTATIO

Composers instinctively don't like breaking up melodies visually, and rightly so. In this case, it's even worse because a clef change would drop the melody at its very climax and make what is supposed to look high, look low. I would try to find an early logical place to change to treble clef so that...

Yes it is, Felipe Copaja! Do you mean this spot: Mozart 457.1.png If so, it is non-controversial. All editions engrave it just like that since there is a three voice imitation going on there that starts between the hands. Note the half rest that Mozart felt necessary to show that the left hand is re...

You are very welcome, NeeraWM. I always enjoy our discussions. Serious discussion is what this forum is all about. I do want to clarify that I didn't mean that Mozart was (necessarily) trying to convey an emotional message consciously. It may have more that he wrote it like that spontaneously becaus...

To me, it can't be a mistake, because it was harder to write with up stems than down stems since there is more clearance below than above. And this is the second time the passage occurs; the first time also has the same unique up stems. Definitely not a mistake. Mozart never added unnecessary rests ...

In such cases, I ask myself: Is it clear? If the answer is yes, I engrave exactly as the composer wrote it, without additions or subtractions, since a great composer almost always knows best. If the answer is no. I make the least possible change, while trying to stay as close to the original as poss...

I prefer the style where the tie end stays close to the note heads and therefore goes through the flag when necessary, so I must have changed that setting.

You are welcome, Harpsichordmaker. Here are the tie settings, but I can't remember how much actual adjusting I did to ties a while ago, so it might be pretty close to the default. In any case, they seem to be working fairly well. Please let me know if you make improvements: Dorico Ties 1.png Dorico ...

The area in red from the first movement of Mozart's piano sonata K. 457 is an example of his "long view" of correct stem direction, a characteristic seen also in Beethoven and Chopin. In the surrounding measures, the soprano part has up stems because of the position of the lower parts. Yet...

Three-octave chromatic scale in Mozart's manuscript of the Fantasy K 475:

The following style of secondary bass clef appears throughout the first edition of Beethoven's three piano sonatas op. 10. It's evidently designed to save space, since the secondary clefs are the same size as the primary ones: Curiosity.png This was a period during which the position of secondary cl...