There is a rule that you can't have multiple time values on the same stem, but there is not now nor has there ever been a corresponding rule against multiple time values on the same note head. In noting piano music it has become customary to use two note heads where a note occurs simultateously in two parts, where the writer for whatever reason doesn't want to use a rest. This is perfectly understood in piano music, but it is *unacceptable* in music for solo strings, where two heads *must* be taken to mean two strings, and one head to mean one string. The use of a second stem, indicating a rest smaller than or equal to a given note, has always been very common in guitar music, even when one is dotted. This used to bother me as being a possible ambiguity, but there is none because the longer time value or the one not beamed *always* takes precedence, otherwise, rests must be used. Thus, the shorter time cannot be dotted or tied, but the longer (or equal) may be. There is no reason not to put a stem with beam even on a dotted whole note. It has often been done. The usage became rare only with the manufacture of millions of pianos in the 1880's because of the design of a decent upright. Piano domination accounts for an irrational bias against it today. I caught it myself, like a disease. Most old guitar music has it. Banjo music needs it desperately. It is easy to read. In order to implement this notation satisfactorily, a silent note or headrest is needed. *************And before I could send this, you did it for violin a due. Great minds! It deserves an *easy* syntax: not \headoff \headon or such but a *single letter* to indicate what it is with the the pitch and time value. A unison without a silent note of course should have two heads. This usage is also necessary for a midi version to make sense. This is not a configuration issue, because there may be many instances of real and false unisons in a single piece. The pianist should simply give the unwanted note a midi velocity of 0, but see the note as he is accustomed to doing. For strings, the silent note's head is not seen, not is it heard, but the stem is seen, or you have true unison, two noteheads each with a velocity. I assume it does that now, thanks to your good programming with contexts, I think. Under Encore, unisons don't work right. :-)
