Horizontal alignment of chords with offset notes
Posted: 06 May 2017, 17:02
Proper horizontal spacing of chords with offset notes across different staves has previously been discussed in these threads:
viewtopic.php?f=2&t=224&p=3667&hilit=Chopin+Etude#p3667
viewtopic.php?f=2&t=307
As mentioned, current notation software is unable to take multiple staves into account when distributing notes in different columns. Even within a single staff, the rules used to determine the vertical alignment automatically are often too simplistic, requiring the engraver to manually adjust the spacing and make alternate decisions about column distribution.
Elaine Gould does not seem to address this problem at all, although an example on p. 309 in her book does seem to indicate that she follows the default alignment determined by the notation software rather than any contextual practice established by manual engraving.
Based on quality engravings, a proposed general rule to determine the ideal alignment would be that:
Any notes of movement and/or similar value should be vertically aligned across staves.
This seems to be a good guideline in most cases, and some editions does seem to adhere rather strictly to it. In other editions, however, the application of this rule seems, at best, rather inconsistent.
For starters, here are a few examples from Debussy's Preludes, Book II which seems to me to be inconsistent:
A typical case following the above rule would be:
Here, the l.h. voice aligned with the moving voice in the r.h., and the half note is pushed to the left rather than the right (1.) to avoid collision of the slur, (2.) to adhere to most common practice (facing stems) and (3.) for consistency with the following measure.
The following examples, however, follows a more arbitrary, software-esque rule:
A more complex set of circumstances can be seen in the following:
Here, not only does the column distribution seem inconsistent upon first glance, but the eight notes does not lign up across hands. Even so, this seems like the best choice for the situation, given that there are seconds involved in both hands, and the idea is to limit the disruption as much as possible.
There even seems to be some doubt as to which column of chord notes on the same stem another voice should align with:
Normally the r.h. notes would align with the left column in the l.h.
viewtopic.php?f=2&t=224&p=3667&hilit=Chopin+Etude#p3667
viewtopic.php?f=2&t=307
As mentioned, current notation software is unable to take multiple staves into account when distributing notes in different columns. Even within a single staff, the rules used to determine the vertical alignment automatically are often too simplistic, requiring the engraver to manually adjust the spacing and make alternate decisions about column distribution.
Elaine Gould does not seem to address this problem at all, although an example on p. 309 in her book does seem to indicate that she follows the default alignment determined by the notation software rather than any contextual practice established by manual engraving.
Based on quality engravings, a proposed general rule to determine the ideal alignment would be that:
Any notes of movement and/or similar value should be vertically aligned across staves.
This seems to be a good guideline in most cases, and some editions does seem to adhere rather strictly to it. In other editions, however, the application of this rule seems, at best, rather inconsistent.
For starters, here are a few examples from Debussy's Preludes, Book II which seems to me to be inconsistent:
A typical case following the above rule would be:
Here, the l.h. voice aligned with the moving voice in the r.h., and the half note is pushed to the left rather than the right (1.) to avoid collision of the slur, (2.) to adhere to most common practice (facing stems) and (3.) for consistency with the following measure.
The following examples, however, follows a more arbitrary, software-esque rule:
A more complex set of circumstances can be seen in the following:
Here, not only does the column distribution seem inconsistent upon first glance, but the eight notes does not lign up across hands. Even so, this seems like the best choice for the situation, given that there are seconds involved in both hands, and the idea is to limit the disruption as much as possible.
There even seems to be some doubt as to which column of chord notes on the same stem another voice should align with:
Normally the r.h. notes would align with the left column in the l.h.