Re: Unusual cross-staff stem in Bartók

[Arle Lommel]

The short answer is that that isn’t the way Bartók chose to do them, even if I 
would personally do them that way and if a goal is to represent the composer’s 
intent, then that’s changing things. As others in the thread indicated, it’s 
more common than I realized, so it presumably serves a function. 

Arle 

--
Misit de iPhone meo. 

> On Jan 20, 2020, at 06:00, Simon Albrecht <address@hidden> wrote:
> 
> 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
>