Authenticity Also, there’s quite a lot of research gone into what Charpentier’s croches blanches mean, and certainly when they appear in the middle of an otherwise “normally” notated piece such as Le Reniement de St. Pierre, they obviously indicate a shift in mood and style. I also work a lot with coloured notation in Bolivian music, which is used to (we think) indicate stresses in multi-metered cross-rhythms. Like here:
(Juan Araujo - Ay Andar, credit Bolivian National Archive)
I take your point though - especially when I’ve wondered about why recreate neumes before…
I have made a set of white notation heads (and done some Charpentier with it). I’ll post a score tomorrow so you can use the library manager to import it (I can’t do it now). You have to hide the odd stem, but otherwise it works great.
Since the note values are not true, I remember having to hide stems in engrave mode for “whole notes”. Also, you may want to tighten the note-spacing locally if you wish. In certain circumstances you may fiddle around with the key signature by starting with an upbeat. In this example, the 3/2 was entered as “3/2,1.5” and the 2nd measure is a 3/4 with the TS hidden.
Ah thank you - very kind! Actually I think @benwiggy ’s method works a little bit better - the only note head you need to change is the black one, and you don’t need to change or hide the time signature