Preventing accidents with pencil marks
After some recent windy weather I saw someone in my neighborhood cutting up some fallen tree branches with a chainsaw. He wore jeans and sneakers and handled the saw with something less than familiarity.
Later, I saw a professional tree removal crew working at a similar task. They operated their chainsaws expertly and with confidence, and wore helmets, eye and ear protection, and heavy protective clothing.
I thought the amateur might really be the one in need of safety gear. But the professionals showed up equipped to do the job right, do it promptly, and do it without mishaps.
Sometimes my students seem reluctant to make markings in their sheet music. I think some of them believe that penciling in a reminder of a key signature or fingering choice somehow indicates amateurism, that a better musician would be able to play successfully without extra aids.
I prefer to gear up like a pro. No matter how confident I am of my abilities, I’d much rather save time and prevent accidents by putting some pencil marks in place. Why spend practice hours trying to remember a flat here or a trill key there when I can solve the problem permanently and in a matter of seconds with a quick marking? Why risk getting momentarily distracted and missing an entrance when a few judicious cue notes can provide a helpful reminder?
Any pencil mark that can shore up your preparation is worth making. Don’t wield a chainsaw or a clarinet without taking necessary precautions.
This is wrong.
Also wrong. So is this one:
The idea of 
What I do like about the weird grace note approach is that it makes fairly clear the idea that the exact “downbeat” (quarter note) to “upbeat” (grace note) ratio is an interpretive matter. It also evokes what I find to be the most successful method of executing swing rhythms: think in quarter note pulses, and let the upbeats lead to the following downbeats. What I don’t like about this method is that it’s a hassle to write and to read.
Note the absence of the “two eighths equal triplet quarter-eighth” indication. This way is simple to read and write, reinforces the duple nature of swing rhythm, and doesn’t prescribe a specific ratio. One might hope that a jazz-untrained musician encountering this would seek out some good training or at least listen to some 
