it seems to be written quite carefully, you could strike a line 
across the 4th (G) and 7th (F) leger lines, for example (either on 
paper or as a guideline in a pdf).  there are many recurring 
intervals, enter them in a scratch staff (single 16th version and 
16th tied to 16th versions) and copy.

from here it only "looks" bad, there are only 6 different intervals 
in your example.  i would spend a bit more time than normal marking 
up the manuscript (letters above the different intervals on each 
page, repeating beat patterns, for example) before starting to enter 
things and i am sure you could save lots of time.

and really only the lowest 2 notes should be in bass clef.  there is 
simply no excuse for having the D#5 and C#4 notated on two different 
clefs.

in my example you can see all instances of blank noteheads, i have 
made no manual adjustments to the beams.  only the lowest 
augmentation dot on the 1st beat needs to be moved (over the flag) to 
hide it:
http://newmusicnotation.com/TEMPFILES/bathory_fun.pdf

actually that kind of stuff is what my fun consists of 8-) -- i did 
the "first music stand score" nono's lontananza many years ago just 
as an exercise to see how much better i could make it from the 
original.  not as many leger lines, but the score was done with a 
felt-tip marker.  beautiful but impossible to "read" in concert.  in 
my experience, the best is to learn much of the piece by memory and 
use the score (marked up for performance) as a guide.

rock on.


At 14:33 -0500 2/8/15, Dennis Bathory-Kitsz wrote:
>Thanks -- not painless, alas. I can barely read that many ledger lines.
>Imagine the first performance, which was reading from this pencil ms.
>
>And I have others going BOTH ways in the same measures, crossing notes
>reaching below the bass from above the treble, and reaching above the treble
>from below the bass (like these).
>
>Not fun at all.

-- 

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