Notation precedent for alternative ending when playing movement as standalone piece?
I’m writing a piece with a movement that has two different endings: one to use if continuing on to the next movement, and one to use if playing the movement as a standalone piece. The players take either one path or the other:
There isn’t just a difference of a single note or two; the two endings have a different number of measures. They need to be notated as separate passages of music, like a “Choose Your Own Adventure.”
I’ve come up with a few alternatives for notating this that seem reasonable. However, I'm wondering: is there a precedent for this? I feel like other pieces must do it, but can’t find any. I don't see anything about it in the notation references I have handy.
To be clear, I’m not looking for ad hoc opinions on what notation to use; I’m wondering whether there is a precedent I should be aware of — either specific pieces that do this or discussion of the problem in some notation reference work — or whether I’m free to just wing it.
Update: In case anyone’s curious, here’s what I ended up doing, based loosely on the Elgar example Rosie found:
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Possible choices, listed in my order of preference.
"alt" with perhaps a few words indicating "when standalone" and "when full piece"
"ossia", which is usually provided as a different set of notes, printed in smaller type above the normal passage.
"optare" , Italian for "to choose"
Var. XII of Elgar's Enigma Variations has a 1-bar ending (for playing stand-alone); there is no music played only when the entire work is played. In the full score, the extra bar has a reference to an explanatory footnote. There is also the mark "attacca" just before that extra bar.
This may seem like a non-answer, but:
is there a precedent for this?
Yes, sort of. Consider the introduction to Wagner's Tristan und Isolde. In the full work, the introduction transitions into C minor and the start Act I. But Wagner also wrote a concert ending that concludes in A. He did this—and here comes the letdown—by just having two versions of the score.
I say this because it isn't uncommon for musicians to have an extra page or two inserted into their score to add at any time. Pit musicians in operas, ballets, and musicals do it constantly. If you can't come up with a cleaner solution, don't be afraid to take this one; I can't imagine any experienced musician turning their nose up to it.
You may also consider some music within the aleatoric tradition. I no longer have those scores with me, but there are definitely scores within this "choose your own adventure" vein. Roll two dice, for instance, and the number you role determines what section you play next.
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