I'll add: What European Boosey did for Bartok in the 1920s (or whenever) with one metal-plate engraver has really nothing to do with what the NY office does with different tools for different composers in the 2000s, and there's a good chance their editor didn't really care about this subtlety as long as it was accurate and easy to read. Looking at the Bartok quartet scores, I'd be more surprised about rhythms like eighth-half-eighth in 3/4, or intervals like Ab-D#.
Another interesting thought: we all tend to think of important musical pieces as arbiters of good notation, but there's no reason to. Breitkopf engravings of Joachim Raff's music are generally a lot better-looking and better-edited than most publications of Stravinsky, for example. =================== ----- Original Message ----- From: "David Horne" <[EMAIL PROTECTED]> > Just as a data point, plenty of recent edited B&H scores have glissandi > lines which stop before the accidental, and don't avoid it, or connect > with the notehead. I'm not sure if debating what is "correct" or not is > the point, because I think the issue is a bit moot- composers (and > publishers) manifestly treat glissandi notation in different ways. _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
