I think the two noteheads and dots are needed because the notes and dots don't 
mean the same as each other. 
The situation is different for an isolated bar than for a consistent rhythmic 
feature of the piece. Chopin for example often broke conventions rhythmically 
but was always elegantly clear. 
Steve P. 

On 3 Feb 2011, at 16:35, Florence + Michael <launay-c...@gmx.net> wrote:

> I recently received my copy of "Behind Bars", Elaine Gould's "definitive 
> guide to notation". She says that a dotted note and a note without a dot may 
> share a single dotted notehead, unless this makes the rhythms ambiguous, in 
> which case you should use separate noteheads. For the example you give, if 
> it's a keyboard piece I think a shared notehead would be OK. But it's correct 
> as you wrote it (you may also place the dotted notehead before the other one 
> if you prefer).
> 
> For your second example, Gould says that if both parts share the notehead, 
> you only need one dot. If you have two noteheads, each one needs a dot. In 
> cramped conditions the dots may be placed vertically one over the other in 
> two different spaces, but otherwise it's better to separate the noteheads and 
> put a dot after each notehead. For your example, I'd stay with the single 
> notehead and single dot.
> 
> Michael
> 
> 
> On 3 Feb 2011, at 16:26, dc wrote:
> 
>> I don't assume it's kosher to have two voices with only one notehead (and 
>> two stems), with a dot that only applies to one note. But I don't seem to 
>> find any confirmation of this in my reference books. Would the proper 
>> solution be to move the dotted note to the right and have two noteheads, as 
>> here?
>> 
>> http://dl.dropbox.com/u/15830163/dot.jpg
>> 
>> But then what does one do when both noteheads need a dot, but the values are 
>> different, such as in the following case - a unison between two voices with 
>> a dotted 8th and a dotted quarter:
>> 
>> http://dl.dropbox.com/u/15830163/dots.jpg
>> 
>> Thanks,
>> 
>> Dennis
>> 
>> 
>> 
>> 
>> 
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