On 14.01.20 18:15, Arle Lommel wrote:
Why Bartók didn’t simply show the bottom D in the treble clef is an interesting question. I think he was trying to keep the relationship between the hands clear, but couldn’t quite include the upper D in a way that made sense without splitting it like this. Had he put the lower D in the treble clef where it more apparently belongs, it might have led to confusion about which hand was to play it.
To me the question would be why these two chords can’t be all stem-down, i.e. with the beam within or below the lower staff. That would put the noteheads on the same side and allow for using common constructs.
Best, Simon
