NOTATIO

I recall trying this for a job I had and discovering there was a surprising difference between two possible ways of hiding the noteheads: Headless staccato A.JPG Headless staccato B.JPG The really surprising thing was that the difference ocurred not when changing the noteheads as you might have expe...

but when the divisi itself starts a bit further into the measure, I prefer to STILL keep double stems going from the start of the measure, it feels more organic to me, rather than have notes suddenly going to double stems. divisi_example_02.png Am I wrong in preferring this? No, you are not wrong a...

Yes, the B&H version isn't very good.

What about the D in the third measure on the second system?

For what it's worth I find your thoughts on this example quite straightforward, as opposed to those on the last example (Beethoven Op. 7, 2nd mov.) in your previous post. Then, in the example from Diabelli variations (also from your previous post), I'm not so sure. At A, it feels compositionally ade...

Excuse me for being pedantic, but I can't see the defining difference between A and B. At A, one middle part IS actually moved to the upper staff (G-F). At B, I think Beethoven had more practical reasons for putting all the right-hand notes on the upper staff. Here's another example (I couldn't find...

No problem, John. Glad we understood each other.

John Ruggero wrote: ↑24 Sep 2023, 12:33 The great quantity of numbers doesn't bother me, because she is clearly attempting to show many possibilities in one example.

Clearly, to us, yes. End of discussion for my part.

So, I agree with all three of you!
I don't deny that the placement of the figures might be questionable, but in my opinion, the bigger problem is that there are too many of them. And/or that Gould possibly forgot to explain what the purpose of the example is.

The example appears to be over-fingered because care was not taken in the way the example was "composed" to motivate the fingering decisions. Good point. I would say consideration was not shown for the intelligence of the pianist. On the other hand, Gould may very well have intended to sh...

If I have to find a single musical reason for that, then the treble-clef middle B against the high A strikes me as odd, while it being a bass-clef low D would not make any problem. That's true, but I think the orthodox-minded are mostly concerned about the lack of a resolution of the F in the bass ...