EDITION DETAILS

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Notational conventions vary from era to era, country to country, editor to editor, and publisher to publisher. These editions attempt to be fairly generic.

+Minimal editing has been applied; no additional markings are added other than minor reconciliations of score inconsistencies and minor modernizing of symbols.

+Beaming is based principally on metrical structure rather than syllabic structure, and recognizing some phrasing breaks.

 

As best as possible, accurate dates for composers and text authors are provided. A brief biography is included for most composers, except those well-known.

 

Editions respect textual authenticity.

If possible, an authoritative edition(s) of the text itself was consulted.

Original printings of scores often contained numerous inconsistencies, misspellings, mis-editing, errors, and other problems in the text.

Texts may have been slightly edited from original score printing:

       +Spellings, punctuation, capitalization, and form are most often based on text sources unless modification by the composer is essential to the setting.

       +Spellings, punctuation, capitalization, and form are most often based on best text sources unless modification by the composer is essential to the setting.

       +Original spellings are often used when texts are in a language such as Scots (like Burns’ poetry).

       +Archaic terms have been retained, even if those terms may now be considered inappropriate or to be avoided, except in a very few scattered occasions.

Many pdfs include the printed poetic form, using appropriate formatting, spacing, and indentation for use in printed program notes.

NOTE:

These pdfs are not locked. The biographies and poetic forms of texts may be copied to paste into a printed program. As noted in other places, please refrain from manipulating pdfs to create a different edition. Respect the work of a peer. (see Terms of Use).

 

The part-song of this era is often thought to be unaccompanied, although ample evidence exists indicating piano accompaniment ad lib. was regularly accepted performance practice. These editions assume unaccompanied performance and few include a piano part- avoiding redundancy and saving page space, on the premise that moderately advanced choirs require limited keyboard assistance. Some original publications include a simple voice-doubling reduction “ad lib”. Those reductions are not included in these editions. If desired, an “ad lib” accompaniment can be created from the open score at the discretion of modern performers. If the original score included an independent accompaniment or “ghost” notes within the voice parts (suggesting an accompaniment was intended), the edition includes a piano part.