NOTATIO

This is indeed much better. The spacing of the 11-tuplet is much more pleasing now (the last 3 notes could be closer still to each other). The short tie between LH G-sharps is too high above the noteheads. The tips should be at the same height as the following long tie. One thing none else mentioned...

Ha, OCTO, you've found it too! (This is obviously connected with yesterday's discussion about repeating an accidental after a grace note.) The old Peters edition of Grieg's piano works is the only edition where I've seen this convention used, but there it is used very consistently. The rule here is:...

I'm not sure if there's any point in continuing the discussion on this subject, but I'll take the risk... In my opinion, any rules should be kept as simple as possible. (A rule with 5 cases is way too complicated.) I submit this: 1. If a musician sees any note with so many slashes that it is physica...

– Piano upper staff, 2nd bar, 3rd beat: I personally would not place a natural sign here. At first sight, it looks like "is there a flat missing on the previous B?" By modern rules, accidentals (in this case, the B flat of the lower staff) do not apply to other staves, but others might ha...

Is this some kind of test? :) Well, here are a few thoughts: – Top staff, 1st bar, 2nd beat: the beam is too close to the grace notes. However, I'd rather strive for keeping all the grace notes stems up, which will require the beam to be raised even higher. Maybe, on the 2nd beat, it would be too mu...

This discussion makes me wonder if parallel tremolos could be handled with a dedicated tremolo font. The practicality of such a solution would depend greatly on the number of angles needed, which again would depend on the beam slant used. If someone would be willing to do some testing to determine ...

I guess I like the Bravura because the slashes don't clash as much with the beams, and, of course, I don't care for them to clash at all. I don't understand this clashing with the beams issue. Surely it is possible to set the default placement so that the slashes are placed far enough from the beam...

Nothing intentional, I assure you. Just my way of dealing with the problem of notating musical symbols in these posts. It is more trouble than I want to expend to embolden and italicize small letters to make them sufficiently significant to look like a music font, and since it seems to get the poin...

I have engraved the initial Brahms example in four ways: 1. Maestro font with Maestro slashes: 2. Maestro font with Fravura slashes: 3. Maestro font with Bravura slashes: 4. Maestro font with parallel slashes, using Peter Thomsen's workaround tweaked with Document Option>Beams>Broken Beam Length re...

This is off topic, I know, but maybe a good moment to ask John this question that has been puzzling me for some time. You abbreviate forte and piano dynamics in capital letters (F, P, mF, mP and so on). Why is that? We do not normally write them out as mezzoForte or mezzoPiano, or else capitalize fo...