NOTATIO

OCTO wrote: ↑22 Feb 2023, 18:36 I would put two noteheads in unison, as it is the most simple to read and straightforward engagement.

It's incredible that I keep forgetting about this absolutely simple and perfectly clear solution for a single note unison in a divisi line.

thanks Octo.

I understand. (I still find it unattractive... the examples I found in my library were mostly for very widely spaced notes, so there was room for the ties to not collide with dots or barlines. It's one thing I don't like about that Beethoven example you posted: the too-near collisions with the augme...

Like Finale (and I presume Sibelius as well?) Dorico allows you to manually move any item. However, there isn't (as far as I know) a project-wide option for setting ties that way. To be perfectly frank, however, I personally find the ties to the left of the augmentation dots very unattractive. My un...

oops, I noticed that we copied slightly different versions of the upper chord, so got different results for the ties.

here's the default from Dorico.

Odd that it displaces those three ties in the bottom cluster.

hmmm, I'd rather have two stems than the "a2" text if I were facing the example you supplied above. although I understand that the rest of the passage (both preceding and following) has the two instruments sharing a stem, so suddenly having split stems I guess could be ... problematic? (at...

;) ok, a question for you 2nd desk violinists let's say that the passage in question doesn't start on that single note. it's immediately preceded by a musical line with no divisi. that initial D is basically the last note of non-divisi playing for the strings. would you still rather see that unison ...

and sadly, in my experience, oftentimes even when there IS a non-div. marking, musicians will divide it! I doubt the first version would cause any real discussion during rehearsals, but I'm trying to also get the most attractive and unambiguous engraving as possible (that's just a quick example, how...

lets say there's a passage, very simple, it repeats twice. violin section. divided in two. very simple rhythm, all quarter notes. they START on a single unison note, then immediately divide to different notes (let's say 6ths). a period of rest, then the short passage repeats, starting on a unison no...

I have to say that the Beethoven example could easily have had the left hand written at pitch IF it were meant to be played that octave up. (I mean, the previous iteration of that rising scale IS written at pitch) So if he really meant the left hand to be one octave up, there was no actual need for ...