![]() Any help or advice would be greatly appreciated. I've looked at as many piano parts as possible and have only ever seen standard treble and bass clefs. I just wanted to ask anyone who plays piano and has more experience with notation if this convention would make sense to a pianist, or if it would just be wrong or confusing to anyone trying to play it. I had an idea of using 8va clefs instead, which would save me having to write 8va lines throughout the piece, and would solve the problem. There are also some arpeggiated chords, and the vertical arpeggio lines intersect the horizontal 8va lines in the left hand stave, which I think looks particularly untidy. My solution to this has been to use an 8va line throughout the entire part, but I need to do this for both hands, and to be honest it looks 'wrong' to have an 8va line above the music in the left hand stave. Since celesta music sounds an octave higher than written, I need to indicate this on the piano part so that it will sound at the correct octave. I'm transcribing a celesta piece and arranging it for piano. I'm not sure if this is the correct forum for this type of question, so apologies if I'm in the wrong place. But there is obviously historical precedent for them, so if you are trying to emulate the look of a historic score, then by all means, make that customization as well.Hello. They really don't add value, and just take space. I would still say, it's best to follow the recommended standards and not add the "va" and definitely not "vb" since that is not the correct abbreviation anyhow. You can then Ctrl+Shift+drag the customized line back to your palette for easy reuse. That said, I also see what you mean about the position of the line relative to the number, and the previous suggestion shows how to adjust that. So my first advice is to adjust the position in these unusual special cases to make it clearer. ![]() Plus of course the end hook removes all doubt no matter what. Under normal circumstances, it would be much more visually obvious which staff the line is connected to based on sheer proximity. I see what you mean about that unusual special case where the systems are cramped and the line is half way between them. It is truly a mighty labour Gould has accomplished, which as well as the patience of Job and a taxonomist’s orderly mind also reveals a humane good sense." The fact that this quality emerges so vividly is a tribute to the author. It is a mysterious compound of practical usefulness, logical consistency and odd conventions, which can embrace many innovations without losing its essence. Notation, like language, embodies a 'wisdom of the ages'. As you turn the pages, the tiny practical details compose themselves into something majestic. But like them, this book offers something more than utility. It’s surely destined to join those other perennial guides to good practice, like Fowler’s Modern English Usage. "In sheer practical terms, this book’s authority is unarguable. Librarians can use it to show composers and publishers how things should appear on the page."ī) an extract from a 5-star review by Ivan Hewett in BBC Music Magazine, March 2011: This book should be on the shelf of every composer and copyist. The author, Elaine Gould spent over 20 years writing this book and it is the culmination of her professional life as copyist and editor at Faber Music. "This book is surely to become THE book on music notation. For example.Ī) an extract from comments by Lawrence Halverson, Ensemble Librarian of The Juilliard School of Music: ![]() Just read the press reviews about Elaine Gould's "Behind Bars". ![]() really have to wonder what an "engraving guru" someone has to be" ![]() Follow the changed elements shown in red below, and click the S (Style) button in each case: MuseScore actually makes it quite easy for you to achieve what you want, even if it is non-standard. ![]()
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