Just wondering if I could get your opinion on which of two versions
is more logical visually on the attached file. In the upper staff you will see
a melody with accompaniment (also in the right hand).
Measures 1-9: the melody is layer 1. Measures 10-18: the melody is also layer 1
but the stems are reversed. Originally I did version 1 with stems facing up, thinking
they had to be that way since they are the melody. Then I re-thought it (version 2)
and reversed the stems, because sometimes the melody dips below the
accompaniment in the right hand. (I am not referring to any notes in the bass clef.)
Any opinions?
appearance - stems
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John Ruggero
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No. 1 would be best if the accompaniment is sometimes above and sometimes below a single main melody line.
No. 2 would be best if there are two main melodic voices as in a duet between a alto and a soprano voice, the alto below the accompaniment with stems down and soprano above the accompaniment with stems up.
I am not sure which it is in your example, because in no. 2 the first 6 measures could be the alto voice, and then the soprano might enter in measure 7, in which case, the stems should be up, not down in measure 7 as in measure 8-9. Then the alto would come back in with stems down in m. 9 etc.
No. 2 would be best if there are two main melodic voices as in a duet between a alto and a soprano voice, the alto below the accompaniment with stems down and soprano above the accompaniment with stems up.
I am not sure which it is in your example, because in no. 2 the first 6 measures could be the alto voice, and then the soprano might enter in measure 7, in which case, the stems should be up, not down in measure 7 as in measure 8-9. Then the alto would come back in with stems down in m. 9 etc.
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Anders Hedelin
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For me both versions seem equally acceptable, with just one correction, that the stems should be up in m. 16.
Finale 26.3, 27.4.1
Windows 10
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musicus
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Thanks for your astute comment. Just if I may ask, when you saw the stems going downward at #2, did that suggest to you that an upper voice, stems up, would be following implicitly?
John Ruggero wrote: ↑Tue Mar 24, 2020 2:40 pmNo. 1 would be best if the accompaniment is sometimes above and sometimes below a single main melody line.
No. 2 would be best if there are two main melodic voices as in a duet between a alto and a soprano voice, the alto below the accompaniment with stems down and soprano above the accompaniment with stems up.
I am not sure which it is in your example, because in no. 2 the first 6 measures could be the alto voice, and then the soprano might enter in measure 7, in which case, the stems should be up, not down in measure 7 as in measure 8-9. Then the alto would come back in with stems down in m. 9 etc.
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musicus
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Thanks - I sit corrected.
Anders Hedelin wrote: ↑Tue Mar 24, 2020 4:52 pmFor me both versions seem equally acceptable, with just one correction, that the stems should be up in m. 16.
