NOTATIO

Thanks so much, OCTO. That is very helpful. It IS a very tricky notation. Here is the Old Mozart Edition: Mozart Cosi fermata.jpg not great. The New Mozart has something that looks very much like mine but is darker and thicker at the ends as you have suggested. We think of the fermata as being a hal...

The clef is quite ugly, but I think that it would be very helpful to see a page example of bad BW balance.

Fred, I am glad that we agree on this issue, and Arnstein agrees with you about the beaming of the 16ths. (I will in the near future give Arnstein's views on beaming.) I didn't break the secondary beams in the Arnstein manner, because I didn't want to steer the conversation to the beaming issue, sin...

As I said, I think this one transcends pen and ink. I am a very good sight reader, yet I would certainly prefer the Arnstein versions in the following examples: Whole Measure Rest.jpg The traditional notation is perfectly legible, but the Arnstein is more "user friendly" and helpful to the...

One of Arnstein's most interesting ideas was the "whole measure rest". For him, there was no such animal as the whole-rest, corresponding to the whole note. What everyone else called the "whole rest", he called the "whole measure rest". The "whole measure rest"...

I don't think players have too much trouble distinguishing a dotted rest from an undotted rest any more an they do a dotted note from an undotted one. If there is consistency in the use of rests, it will be clear that all whole beat rests will be a dotted rest, or not, depending which system is cho...

In regard to Fred G. Unn's post above, I corrected my post to read "the first measure of X1."

Peter, if (edit-the first measure of) X1 is now the preferred method, I think it unfortunate and a retrogression that it has nothing to do with the demise of hand copying. I wonder if Boosey now uses see half rests in 3/4 and 6/4? The point of both the "Brahms" and Arnstein systems was to ...

Peter, as you know, the quarter rest to the front and not to the rear is the traditional one seen at "Brahms" in the example. The logic is clear: the more natural rhythm is quarter-eighth, not the syncopated eighth-quarter: see Y1 and Y2. The quarter rest is thus always placed on a downbea...

This one amazing page of music inspires a number of comments: 1. Apropos of another thread, the treble clefs are to me very graceful and generally upright. One sees that, being hand engraving, they are tilted at slightly different angles, as mentioned by Knut. The clefs for the cues are in a somewha...