Am 07.08.2014 15:10, schrieb Werner LEMBERG:
I have a large romantic score in front of me. In the handwritten
score the \partcombine stuff is done inconsistently for unisono
sections: sometimes it's written as one voice with "à 2", sometimes
as two voices, i.e. one notehead with stems up and down. So far I
can't see any reason for this inconsistency.
What would people with more experience with orchestral scores suggest:
- transcribe everything as it is in the model?
- make it consistent:
- use "à 2" always?
- use voices always?
Assuming that this becomes a critical edition,
For now we're only preparing performance material of a piece where only
the full score has survived. But in the back of my mind I keep the idea
of making it a critical edition once ...
I suggest that you use
"à 2" consistently and note deviations of that in the editorial marks
section. The score is then simply less crowded.
That's exactly what I thought. But I'll check Alex' suggestion first.
That sounds at least very plausible.
Best
Urs
Werner
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