NOTATIO

FWIW I prefer No. 1, which should be easy enough to understand - four equal note values in a measure of three quarters. For reference this kind of dotted values is quite common in Bartók's notation. Personally I think No. 2 would be more relevant in a slower tempo than = 120.

I agree with both of you, David and John. My idea was like this: In a percussion part where the instruments change frequently, it would be best to let the clefs appear together with the name of the new instrument. If, for some reason, David had placed the "Glockenspiel" at the beginning of...

Actually Gould has a remark on placing changing clefs (p.8) - when possible, always before the barline. Whether this is meant as an absolute rule or not, I'm not sure, but in this particular case it seems appropriate to let the clef go with the change of metre and tempo, and be placed before the bar...

I haven't seen the article before, John. It was interesting in a way, explaining the significance of H's illustrations, which I appreciate. But as it goes with these things, the scientific seriousness of the project somewhat soils the subject.

Needless to say, I wouldn't recommend H's approach in your Beethoven edition, John.

Hindemith's Ludus Tonalis is a learned, contrapuntal piano work, consisting (mainly) of preludes and fugues. Probably you wouldn't expect it to be exactly funny, but here is a score, revised by the composer himself: Ludus tonalis.PNG Whether the revision has a didactic or scientific purpose is somew...

This is a suggestion I got from the Finale forum:

You are definitely on to something there, OCTO! I just fear that the multimeasure thing could be a bit risky too: ...

Useful symbols in parts like this: (short rest), or (shortish rest), or (not so short rest), or (long rest).

Well, it's difficult to say anything on the grounds of so patchy an information.