NOTATIO

Twice now this week I've come across people wanting to do things while engraving classical music (in opposition to pop, jazz, or Broadway) that have just raised my hackles.

One person insisted on differentiating between a straight line glissando and a squiggly line glissando, insisting that they were two different performance techniques.

Another, intent on engraving Daphnis et Chloe, was insistent on using slash notation in the Sunrise section for the repeated string patterns, stating that it would "make things easier" for the musicians.

I don't know, it seems to me that these are very basic music notation principles, not even particularly advanced engraving issues like hanging/sitting/straddling beams.

I've seen people insist on inventing notation to make fractional dynamic changes between and , for example.

Is this simply evidence of a certain lack of musical literacy?
or am I being stupidly hard-headed?

MichelRE wrote: ↑28 Feb 2023, 23:50 Is this simply evidence of a certain lack of musical literacy?

I don’t know your specific context; but in many cases, especially internet discussions, lack of literacy is often the cause.

In Arnstein's office, we saw the darnedest stuff from both inexperienced and experienced composers, and this was before the present age of computer empowerment. And just try to convince them that they are wrong!

This is why I have had to leave the Engraving Tips groups on Facebook... 99% of posts were "how do get *software name* to notate *absolutely incorrect notation*?"

hautbois baryton wrote: ↑03 Mar 2023, 14:53 This is why I have had to leave the Engraving Tips groups on Facebook... 99% of posts were "how do get *software name* to notate *absolutely incorrect notation*?"

This.

I'm not well educated in notation. I can read. I write for my own band. I sometimes write things that are clear to me and players play it correctly, but an educated player may complain that it's not correct. That is, despite everyone reading it correctly, it's still wrong.

Am I not being picky enough? Not trying to start an argument. It's a real question.

Rick: I think you may be misunderstanding the fundamental issue I was bringing up.

Of course there are amateurs and hobbyists, or people with considerably less formal training, out there.

The particular issue arises when people who do lack a certain musical education argue that something should be the way they want it, and argue against what is the standard way of doing it.

For example, someone argued that a straight line gliss was different from a wavy line gliss in actual performance. This is pure horse-pucky. They are simply different notation conventions from different periods in time for the exact same performance technique.

But no, the person kept arguing that a wavy gliss line meant that every chromatic note of the glissando should be articulated. And of course, that would mean that it is in fact NOT a glissando, but simply a chromatic run. No violinist is going to see a wavy line marked "gliss." and think to themselves "oh, I have to play this as a chromatic scale."

Another way to put it is that music notation is a tremendously complicated system that very few (maybe nobody?) knows completely. There is always something new to learn. One must keep an open mind, listen to those who may know a certain area very well and learn from them as one goes. If you are interested in this subject, there are many who contribute on this site who can provide good information. Each has their own experience and special area of expertise. And when there is a difference of opinion, a consensus is often reached, because contributors are quite aware of and do exactly what I just mentioned.

and John, Octo, and Hautbois are definitely up there as far as knowledgeable people are concerned.

Thank you very much, MichelRE. Knowing things is good, but knowing what you don't know is better.