The best example was already mentioned: imagine one part having a first and second ending, and another not having one. But even when this isn't the case it makes more sense to me that after measure 7 follows measure 8, and not 9.
The rationale is especially obvious in baroque dance movements, or in calssical Menuets. It simply makes no sense to start the second section in measure 10 instead of measure 9, only because there perhaps is an extra note in the first ending. Very often the manuscript/autograph wouldn't even give you two different endings but just another way of indicating what should be played each time.
Sticking with this rule (as far as classical music is concerned) avoids all kinds of counting problems.
Johannes
Darcy James Argue wrote:
Hi Johannes,
I don't doubt that you are correct. But I was just wondering (A) if I had understood you correctly (which I guess I did), and (B) what the rationale was? This practice still strikes me as a terrible idea, B�renreiter or no.
-- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de
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