Hm,



>Landscape view, to make the score easily readable on the screen (or steady on 
>the music stand)
I prefer portrait and I never play from the screen


>Do not repeat rhytmic signs until they actually change value (much easier to 
>read in all respects, also for prima-vista)
For me this is very difficult to read. I prefer the gridiron system.


>Number bars at the beginning of each staff (easier to navigate the score - no 
>numbering is hopeless when discussing a score via mail f. ex.)
Some people prefer numbering every fifth bar.


>Adjust the tablature font size to your sight (some can read 8-10 point, I'm 
>most comfortable with 12-14)
That is sort of difficult on paper :)



>Tablature numbers "on" lines makes for quicker reading, (at least for me) 
>(debatable also for letters)
I always wonder why people think tablature with a strike-through should be 
easier to read.
Would you strike through everything in a book?


>I am aware, that these are my own very personal settings. From what I've seen 
>these past 15 or so years, not _one_ editor does it like any other.
Each and everyone has at least some personal features. Some are easy to read, 
some are quite difficult, like those with the "raster" rhythm signs and also 
those, who try to emulate the original facsimile with some fancy but hard to 
read font.

I prefer those '"raster" rhythm signs'.


>IMO the main guiding formula should always be to keep it as _simple_ and as 
>_easily readable_ as possible, at the same time providing the most information 
>possible.

You can't square the circle.

>A tablature publication should _not_  try to be a work of art in that sense - 
>it should mainly be an instrument to enable duplication and interpretation of 
>the composers intentions. So I for one would prefer to throw those other 
>unhelpful aesthetic considerations overboard.

Composer intentions?
Nobody knows Dowland's intentions.


Best wishes,

Rainer aus dem Spring


IT & Business Solutions Division


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