NOTATIO

Thanks. I like your keen observation about swapping places. Basically what I want is the appearance of 4ths but I see that this will result in a coupla strange-looking spellings. So, as I mentioned to Mr. Ward (above) as long as the overall impression is clear then I'm OK with it. I certainly don't ...

Thanks. I'm gathering that there is no rule, therefore "best judgment" might be the guiding principle (not using the word "rule.) I am one who prefers easy-to-read visuals, generally. None of the options is perfect, but as long as the overall impression is clear, then fine with me. … ...

Just my opinion, the treble clef is intended. Both versions "work" however. That first leap is IMO quite awkward however that would not have stopped Beethoven. There is a terribly awkward leap in the 1st mvt. of his Emperor Concerto.

Agree with MichelRE above. The excessive fingering - although the composer may have thought it helpful - would only help to discourage me from this piece. Not all hands or approaches to fingering are the same.

I'm interested in knowing what is the "correct" notation for the attached passage, particularly the dyads moving downward. For my taste I'd like them to appear as fourths, to be visually pleasing. But I'd also like them to follow the rule of flattening the succeeding notes because the pass...

Ah! Makes sense.

S..t! You have uncovered a ongoing weakness in me, in that I am location oriented to such a degree that if an object is not in its usual location, I might not find it, even if it's only inches away. Thank you for your comment. I have learned my lesson.

I've attached a section from Da Falla's Ritual Fire Dance, a piano arrangement. I have a question about line 3, meas.4. Probably few would think the E in the LH is anything but E-natural. But technically speaking, should that E have a courtesy accidental? I'm thinking that there are two voices (the ...

Thanks. I am unsure as to whether Soler meant to continue the double stems for the meas.3 LH pattern. So far, I'm playing the two measures differently and continuing that way throughout. I dunno, I might change my mind.

My question is about the sample attachment from Soler's Fandango. The way the LH is notated in Meas.2 is different from meas.3. (The pattern is similar throughout most of the piece.) Often it means the composer wants the rest of it to be the same. What do you think? Should the articulation of the LH...