NOTATIO

What a great point. I agree. Reducing the thickness of the staff lines and stems gives a less substantial appearance and is harder to read. Perhaps you should make your point over at the Dorico forum, where Daniel will be sure to see it.

Looks much better!

Passages like that are conventionally notated so that the beaming, as well as the stem direction, shows the separate hand groups:

In my opinion, the second example is correct for two reasons: 1. Rests should never be displaced from their normal positions unless there is a good reason for it. There isn't one in this case, because the lower voice does not impinge on the rests. 2. When rests are displaced they should be positione...

*Much to learn still I have* would a wise master say! Don't we all. Regarding stem direction "rules" regarding stem direction for beamed groups, I have always followed the majority wins rule with the exceptions noted by Gould on p. 24. So in your example, the second and third (to avoid th...

You are very welcome, Neera. I responded to your comment above regarding Beethoven's op. 111 in the thread called Beethoven Stems 7.

I also wanted to respond to your comment regarding the op. 111 stemming from the thread on Debussy's Suite Bergamasque: I cannot say if it is only the rules, but to me having the stems up without something else causing it is highly disturbing and would not help my reading or understanding of the mel...

Great questions, Neera. Thanks so much! b 87 if the B is the tenor voice, why is there a rest in the left-hand, below the bass note? Perhaps to keep the rest and the next note together. Also see below. Wouldn't it make sense that the B was still the alto voice and the rest and lower B in beat 2 were...

The A flat is part of the bass line so its stemmed down just like the note it comes from, the A flat dotted half note at the beginning of the measure. That's correct, playing the A flat with the right hand makes legato impossible. In fact, even without the A flat, it's difficult. The following intri...

That is actually a wonderful example of what I have been talking about. Debussy is telling us that something special is going on here: the high A flat is an important melody note that would have been played by the right hand on top of that right hand chord except that it is unpianistic to do so and ...