On May 28, 2006, at 9:05 AM, Richard Yates wrote:
http://www.yatesguitar.com/misc/ABA.gif ?
The second example is by far the best way, IMO.
The third example has been used before (I have seen it in Strauss
waltzes and polkas in orchestra), but without the final barline at the
second ending, and with a double barline between the endings (as John H
pointed out, it needs it) and I would add for clarity "Continue to B"
or "Go on to B" or something similar at the end of the first ending at
the vertical height of the number, just to emphasize that there is NO
repeat in the first ending, which is what would mess everyone up. This
is not as good as #2, though.
I would, like John, also like to emphasize that you notate weird things
at your peril, and at a grave cost in rehearsal time and risk of error
in the performance. As fellow lister and Articulations Font author Bill
Duncan points out, you should strive to make the notation impossible to
misunderstand. Convention is a powerful force to understanding in music
notation.
Christopher
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