NOTATIO

John Ruggero wrote: ↑11 Mar 2024, 11:43And which form is more common in the past and today: subito and sub. or subito and sub. etc.?

Might that, sometimes at least, depend more on space or alignment with other things than on any absolute preference?

FWIW in the many thousands of words I've set over the last seven decades, I've always tried to keep the capitalization and punctuation the same as in the original. Sometimes there has been no capitalization, sometimes almost no punctuation and sometimes everything has been as near standard (includin...

Very interesting. I don't often write repeats; but I've checked a manuscript of mine from the 1980s which has repeats coinciding with clef changes, and I did not use the Gould/Dorico notation for that. I agree, the Gould/Dorico way at first sight gives the sense of an extra bar between the repeat si...

benwiggy wrote: ↑03 Mar 2024, 15:50That having been said, if you are going to change anything, I'd suggest hyphenating 'secrets' as 'se - crets'.

You are correct: thank you.

Thank you: I thought it looked a little odd. A question I should perhaps now ask myself is how much effort ought I to put into changing a passing minor ‘engraving’ problem on one page of a 315 page full score from 2012? (This problem arises from a recent edit.) There are a couple of other places whe...

This is how Finale has spaced the hyphens for two versions of a vocal line on the same stave (depending on how long-breathed the singer might be :4 = 60). It goes across three pages in the full score, with the hyphens of the two versions misaligned vertically on the middle page. Does this misalignme...

FWIW I see Boulez in his directions for the vibraphone refers to vibrato in various ways: thus sans vibrato , vibrato lent , vibrato normal , vibrato moyen and so on. However, given that directions in English (including my own - see screenshot) usually refer to ‘motor on’ &c, a direct French tra...

Like this then? The direction col canto allows the singer some freedom immediately after the pausa. The first bar of the next system is marked giusto.

Should the pausa (fermata) in the voice part at bar 126 be on a crotchet (quarter) rest to be the same as in the instrumental parts, or is it OK as it is? ( = 96)

FWIW I have usually employed a wavy gliss line for trombone glissandi taking up all or most of the value of the starting note and a straight line to indicate a quick quasi-portamento glissando at the end of the first note. This notation is not actively recommended by any authority, but in my case it...