NOTATIO

the rest in mm 324 WOULD look better centered. I don't think there's an easy work-around for achieving this however. It's a feature I will most likely suggest on the Dorico forum.
I actually feel that even the "cue" rests in the 5/4 measures should be centered within their half of the measure, automatically (or at least, as an engraving choice/option.)

Oh, by the way, I suspect that that errant bass clef in the contrabasse part was due to those measures being initially empty and containing a cue NOT in bass clef. Dorico probably inserted the bass clef and left it there despite my deleting the cue.

I will definitely support you if you make the suggestion on the Dorico forum. I am not sure how standard this is, however.

I also find these extra clefs after revisions. Probably need to run the Dorico proofreader. Haven't explored that yet.

MichelRE wrote: 14 Apr 2026, 04:08 Here's the entire last system of that movement, and a bit of the next system/movement for an idea on white space.
I'm pretty satisfied with the result. (The movements are entitled "Chants", "Élégie", and "Ronde."

I would connect with a dotted line C to C in order to specify the voicing of the tutti, particularly because the stems flip across the barline.

mm I'm not sure I understand.
The C# (which is the inside half of the 1st violins) connects downward to Bb, while the solo 1st violin (concert master) rejoins the entrance of the outside half of 1st violins (G# to C )

There's no change in stem directions... upward stems are the soloist, and the outside half of gli altri.
Downward stems are the inside half of gli altri.

In other words, ignoring the soloist, half the 1st violins come in a bar before the other half the first violins.

If worse came to worst, I could have a dashed line over the entire solo part, from the words "1 solo dolce" to the G#, indicating what part is played by a soloist.

MichelRE wrote: 18 Apr 2026, 08:46 In other words, ignoring the soloist, half the 1st violins come in a bar before the other half the first violins.

Yes, but which half? I don't understand French so, if I understand correctly that C is played by the first half and the second half does not play in that measure, consequently: the first half play the lower voice, and the next measure the upper voice.

it says clearly that the inside half play the C#,
that note is stem down, so the logic is that that voice continues to the next down-stem note, Bb.

The G# is the concert master, who is then joined on that high C natural (where the entire section is marked as "tutti divisi", so both inside and outside desks.)

so inside desks on low note, outside desks (and concert master) on the upper note.

I can't mark the upper part as "gli altri" since it's only half of the others, which weren't playing at that point.
I COULD write "solo col tutti divisi", which is rather verbose.

MichelRE wrote: 20 Apr 2026, 12:20 it says clearly that the inside half play the C#,
that note is stem down, so the logic is that that voice continues to the next down-stem note, Bb.

Yes, if it stays "inside" --- then it is clear.

(I would write 2/2 tutti altri, but that's just me)

John Ruggero wrote: 14 Apr 2026, 16:38 On a completely different subject: I am wondering if a rest in a completely empty partial measure like the second part of m. 324 should be centered in the measure like a whole measure rest?

My initial thought is "no" since the only rests I see centered are whole rests or "old style" multi-bar rests. I dunno if it's a hard rule that a rest shorter than a whole rest that fills a full bar can't be centered, especially since full bar notes of any duration have historically been centered, but I can't recall if I've ever seen non-whole rests centered in a bar or partial bar.

MichelRE wrote: 14 Apr 2026, 04:08 Here's the entire last system of that movement, and a bit of the next system/movement for an idea on white space.
I'm pretty satisfied with the result. (The movements are entitled "Chants", "Élégie", and "Ronde."

Completely unrelated to everything else that's been said, but in the 3rd to last bar in the bass part I'd notate the harmonics as either the sounding pitch with a circle over it or the fingered pitch with a diamond notehead and a string indicator, like so: Speaking from my playing experience, using artificial harmonic notation for natural harmonics can cause some confusion among string players. I don't really have a preference for whether they're notated at sounding pitch or fingered pitch as long as it's consistent throughout a piece.

frames wrote: 20 Apr 2026, 17:20
Completely unrelated to everything else that's been said, but in the 3rd to last bar in the bass part I'd notate the harmonics as either the sounding pitch with a circle over it or the fingered pitch with a diamond notehead and a string indicator, like so:
Screenshot 2026-04-20 at 11.09.07 AM.png

Speaking from my playing experience, using artificial harmonic notation for natural harmonics can cause some confusion among string players. I don't really have a preference for whether they're notated at sounding pitch or fingered pitch as long as it's consistent throughout a piece.

I am used to this notation of a natural harmonic but with the sounding note in parentheses: