I've seen all those situations. The least common one seems to be two different 
dotted values: not because people use two noteheads in this situation (they 
usually don't), but simply because two dotted notes of different values on a 
unison doesn't happen as often as the other cases. 

One dotted value and one undotted value is very common. It's specially useful 
for repeated patterns. In 6/8 time you often have broken chords in quavers with 
the first note of each group of three held down for the length of a dotted 
crotchet (Schumann, Abegg variations, finale, for instance). As a pianist I 
don't think twice about this: I read the figure with the shortest note values 
and see the notes that have to be held longer. 

Elaine Gould also gives an example where a minim (half-note) shares a notehead 
with a crotchet (quarter-note): the notehead stays white. She says this is 
acceptable in the context of repeated patterns and I agree with her.

If you can get your hands on a copy of Debussy's "Etudes pour le Piano", have a 
look at N° XI, "pour les Arpèges composés": shared noteheads with no dots, 
single dots, double dots... not always self-consistent but I don't think any 
pianist has doubts about what Debussy wanted.

Michael

On 4 Feb 2011, at 08:54, dc wrote:

> Thanks again to all for the comments on this.
> 
> 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.
> 
> Are you referring to the specific situations I was asking about
> 
> 1) one dotted value and one undotted value
> 
> 2) two different dotted values
> 
> Or simply
> 
> 3) two different undotted values (say a quarter and and eighth)?
> 
> Thanks again,
> 
> Dennis
> 
> 
> 
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