NOTATIO

I also would like to help, but I cannot get a clear enough picture of what you're trying to notate. Maybe a little hand-written sketch would help us? What is "the phrase" like? Just short repeated motive? What rhythm is "the initial simple rhythm"? If the phrase "is not acco...

This should definitely be added there:

Check that every fermata is present in every part.

An analogy, in musical notation, for the difference between serif and sans-serif fonts could be the use of curved flags vs. straight flags . For example, straight flags have been used since the 1950s by Universal Edition in the scores of Boulez, Stockhausen et al. These scores used straight (diagona...

How would you explain the A natural in the second half of m. 45? By analogy with the sequence in the following measures, shouldn't it be better notated as B double-flat? Isn't it a chromatic upper neighboring note to the A flat in m. 46?

(Note that the last beat of m. 5 and the last beat of m. 8 are exactly the same notes in both hands so the 12 chromatic passing tones in between are simply bringing the last beat of m. 5 down one octave: three measures X four beats = 12 beats and 12 chromatic steps.) As far as I can see, the last b...

If you mark the lead voice forte and the accompanying voices piano (or something similar), it would be clear which is the lead voice even without Hauptstimme signs.

There’s a lot of modern scores that are waaaaay “worse” than the samples shown here. That's beside the point. In this specific example, it's entirely pointless to use incomplete triplets, as the same rhythms could be written using regular complete triplets. And my question was: "is it even des...

There seems to exist a notation software that can natively notate incomplete tuplets. If I'm not mistaken, the program in question is Encore. (I did not compose these, neither have I ever used Encore myself.) If we accept the non-standard rhythmical notation, then these measures are mathematically c...

But I think that Ere might be pointing out the additional paradox that the beauty of the handwriting and quality of the notational practice are also not aligned. That was exactly my (somewhat disguised) point - it being the logical conclusion if one combines John's former motto (which I alluded to)...

John Ruggero wrote: ↑12 Nov 2017, 15:14 I agree, OCTO. So far, Arensky seems to be the winner. But one also notices that there is no correlation between the beauty of the handwriting and the quality of the music.

"The better the handwriting, the better the composer."
Or not.