Thanks so much for the various responses to my query. I think the
"layers" approach Michael Cook recommends below may be the cleanest
technique to use; I haven't made heavy use of layers up till now.
From a notation standpoint, there is a "grey area" in this kind of
writing where some double-stops are really thought of as chords, and
thus would belong in one layer logically; and these drone passages
where describing what's going on as two voices is at least visually
(with different-directioned stems) helpful for the player. Yet these
passages may be interspersed in a single piece, so committing to a
layer approach feels a bit like a "workaround" to me if the only
purpose is to control stem direction where voices may cross.
From a usability standpoint, I think the "semantics" of how the
various stem operations work in the context of either a chord or a
polyphonic texture could be more clearly explained in the references.
I've found that other operations, like erasure of notes, seem to
behave a little unpredictably applied to stacked notes in a chord,
and in Speedy vs. Simple Entry - sometimes you can erase just one
note of a chord, sometimes the whole chord (and thus its rhythmic
position) go.
From: Michael Cook <[EMAIL PROTECTED]>
Subject: Re: [Finale] Question on double-stop passages for violin
Don't use split/reverse stems for this type of writing: write it in
two layers. Try using layer 1 for the melody and layer 2 for the
drone notes. In Document Options - Music Spacing, make sure that
Avoid Collision of Unisons is set to "all noteheads".
Michael Cook
On 20 May 2006, at 18:05, Mark Q. Simos wrote:
Hey Finale Wizards:
I am in the middle of a piece for solo cello and am finding myself
frustrated in some extended double-stop passages where the melody
is played high on the string using as a drone an upper string
sounding, at times a unison, at times an upper, at times a lower
> tone...
Mark Simos
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