![]() ![]() It's a bit unconventional, but it can work.Ībout three years ago someone brought to my viola da gamba trio an In Nomine by John Bull. Of course a musician is able to recognize the phrases but if we consider that a song is like a poem an artwork the note lines should be set analog to the text I think modern digital layouts of music writings should much more respect the poetic aspect of a composition showing the verses and phrases. The main purpose is to save space and paper! But today in digital settings could help to keep the structure and emphasize the formal aspects of an musical artwork (where it exists!) In a solo album and concert sheet music the layout doesn't show this structure. Look up a church choir book or a song book: you'll find this break when ever it was possible. But it would help to read and interpret a song and composition, and the most phrasing bows would be superfluous.Īre there other professional scores that also follow this practice? This may be opinion based and individual. Would musicians reading such a score, prefer this technique or does it impair readability/functionality? It helps to understand the musical structure and would support to learn a piece by heart. Is this a good practice is it breaking any engraving guidelines or rules? You don't see printed books where every line ends with a punctuation mark either, for the same reason. ![]() The reason nobody has done this for hundreds of years is not because they weren't smart enough to think of it, but because they were smart enough to realize that it doesn't make music easier to read. If you split the single note into two notes tied together, that is making the notation more complicated without a good reason. In the OP's example, if the bass player has a single note for the whole bar 4, how do you write it? If you put it at the end of the first line, there is an empty space at the start of the second like which looks like a mistake. More empty space on the page means more money, but that's a digression.Įven then, bars are not split up at an anacrusis. It does boost the wages of music copyists whose union rates are per page, not per note. ![]() Of course that only makes sense because the music is rhythmically boring with nothing but four-bar phrases! There is a convention that scores for music theater (particularly on Broadway) are always written with four bars per line. The music should be as clear as it possibly can be. In general, I think it's best to avoid anything that will make your reader go "Huh?" when they see it. So it's not completely forbidden, but it should be the exception rather than the rule. Very often any eighth notes are not beamed so it's missing the visual cues you expect from modern, thoughtfully typeset music. ![]() I've also seen old hymn books which have this style of layout. I've seen this too, but far less frequently. I've seen this in some of the Bach and Handel I've played.Īs already noted, if the bar contains lots of 16th or 32nd notes, or a cadenza passage, and starts towards the right-hand end of the stave, you might consider breaking the line like this. In these circumstances you have to put the end-repeat :| bar line one quarter note before the end of an actual bar. there's a repeated section which requires you to go back to the beginning and repeat the anacrusis.the music starts with an anacrusis (say one quarter note for the sake of this example) and.I would consider breaking measures like this, but only when: ![]()
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