Multiple Tremolos

[RosenJoe]

I’m transcribing something into Finale to rearrange later. The viola part is divisi with tremolos.

C25B56B1-8ACD-4B7E-AF18-38E3D450C12C.jpeg (38.97 KiB) Viewed 3479 times

First of all, I didn’t know how to input tremolos across 2 notes. A google search showed me TGTools>Easy Tremolos. When I put in 2 voices, each with 2 half notes (first 2 bars only), and I use that plug-in, the tremolos overlap each other, and I don’t know how to move them at all.
Is there a way to make the tremolos smaller and more out of the way, like in the original. Is there an easier way to input tremolos? Please let me know, thank you in advance.

[motet]

What you've shown there doesn't look like tremolos between notes, but rather simple tremolos on the same chord (moving the bow back and forth rapidly), done here with articulations and two layers. There's no 4-slash articulation, though, so you'll probably need to apply two for each tremolo (here I used a 1 and a 3). 3 slashes probably suffice, actually, unless the tempo is very, very slow. Use the 8 metatool to apply the three-slash tremolo articulations (switching layers to apply each), then use the JW Yadda Yadda tremolo plug-in to clean up Finale's awful default placement.

[Anders Hedelin]

I can gather from the "getheilt", divisi, that the example is from a 19th century German score. To place the tremolos properly, it would help to know how the divisi are meant to be performed, a2, a3, a4? Maybe there's no indication in the original score. Then it's more tricky.

Nowadays a tremolo with three beams commonly designates a 'free tremolo' i.e. a fast, unmeasured tremolo. (There is, in contemporary music, another, unambiguous, designation for this, looking like a z, but given the 'getheilt' it's out of the question here.)

[Anders Hedelin]

The notation in measure 1-2 would suggest a divisi a 2, with both parts of the divisi playing a doublestop. Or a divisi a 4. But then, in measure 3?

Or, are the musicians expected to distribute the notes among themselves 'spontaneously' according to what turns up for the moment? Anyone has experience of this kind of fluctuating notation?

[N Grossingink]

What is the composition? The New York Philharmonic Digital Archive might have a performance score and parts that can be viewed. It's likely this passage is marked with very specific information for the players. The archive is open to anyone.

https://archives.nyphil.org/

[Anders Hedelin]

After some thought I would think that the notation with double tremolo signs in measures 1-2 makes sense only if it's palyed divisi a 2 (with double stops). And if not, none of the double tremolo signs makes sense.

[motet]

What is the composition? The New York Philharmonic Digital Archive might have a performance score and parts that can be viewed. It's likely this passage is marked with very specific information for the players. The archive is open to anyone.

https://archives.nyphil.org/

What a fabulous resource! Thanks for the pointer.

[Michel R E]

the last note of the passage (the non-tremolo 8th note) indicates how the passage is meant to be divided.

4-note chords are divisi a 2, 2 notes per part (though it would most likely be played divisi in 4).

3 note chords are divisi a 2 as well, but with 2 notes to the outside part, and 1 note to the inside.

[Anders Hedelin]

the last note of the passage (the non-tremolo 8th note) indicates how the passage is meant to be divided.

4-note chords are divisi a 2, 2 notes per part (though it would most likely be played divisi in 4).

3 note chords are divisi a 2 as well, but with 2 notes to the outside part, and 1 note to the inside.

Yes, I don't doubt you are right about standard divisi procedures, but that doesn't really explain the double tremolo signs, does it?

[Michel R E]

yes it does.
tremolo articulation for what would be up-stem notes, and one below the staff for what would be down-stem notes.

[Peter Thomsen]

… 3 note chords are divisi a 2 as well, but with 2 notes to the outside part, and 1 note to the inside …

… tremolo articulation for what would be up-stem notes, and one below the staff for what would be down-stem notes …

The third 3 note chord indeed looks like it is divided with 2 notes (a♭ and f) to the outside part, and 1 note (= d) to the inside part.

But the second 3 note chord looks like it is divided with 2 notes (b♭ and d) to the upper part, and 1 note (= a♭) to the lower part.
And so does the fifth 3 note chord:
2 notes (b♭ and f) to the upper part, and 1 note (= a♭) to the lower part.

[Anders Hedelin]

I also don't doubt that string musicians would find their way round the divisi writing in the OP. When I've written string divisi myself (quite a few by now), I've supplied the instruction a 2, a 3 etc. when necessary, but how exactly to divide the string section I've left to the musicians. I never noticed any problems with that, or heard any questions about it. Now, just out of curiosity, if I were to write something like in the OP, would this be the way to divide the chords?:

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Or are there other, more natural or usual ways?