Have just looked through stuff too.
It is indeed common. I shall dive out!
Particularly 19th C. music often fudges this and strict rhythmic
accuracy for the sake of clarity. Chopin constantly surprises in this
respect.
Editions of Bach etc., where melodic lines are distinct, have two
noteheads.
Steve P.
On 3 Feb 2011, at 21:48, Florence + Michael wrote:
I just leafed through some of my piano music: Henle Urtext, Wiener
Urtext, Bärenreiter and other renowned European publishers. Two
different valued notes sharing a notehead is a common occurence:
putting double noteheads in all those places would clutter up the
music unnecessarily.
Context is everything. I wouldn't do this on a part where two wind
instruments share the same staff, for instance, but pianists are
used to music written this way.
Michael
On 3 Feb 2011, at 22:22, Steve Parker wrote:
The note with stem up needs to be before the note with stem down.
I seem to be in a minority.. but to me the idea of two distinctly
valued notes sharing a notehead is just bad.
As far as I see the only decision to be made is wether you can
neatly have the noteheads touching with the dots close enough
OR
wether to have the down-stemmed note after both the note and the dot.
I think this second version is almost always preferable.
Steve P.
On 3 Feb 2011, at 17:10, Noel Stoutenburg wrote:
dc wrote:
... And I
think having two noteheads would be more confusing and harder to
read.
I don't think there's a need for two noteheads in this situation,
though if the time values were doubled, there obviously would be.
However, if one were to decide to use two noteheads, I would be
inclined to put the note with the longer duration, and its dot,
after the note with the shorter, so that the fact that the rhythms
of the two outer voices coincide is visibly indicated by the
appearance on the page.
ns
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