There is no rule as far as I know, but I would have thought
legibility would be improved by having the stems in the middle voice
down, so as not to have to avoid a collision with the rest on beat 2.
In the last measure though, the stem should be up, otherwise there
would be a collision with the tie. Maybe the original editor thought
that consistency was more important, and kept the stems all up for
that reason. It's a good argument.
I don't think three quarters tied together all in one voice, is a
good solution. It is too cluttered. I'm not even that crazy about
tying beat 2 to beat 3 with stems up, adding the note to make a dyad
on beat 3. The three separate voices are much more clear with three
sets of stems, as written.
If this were Chopin, they might put the bass note alone on its stem,
stem down, then the the rest of the arpeggio all in the same voice
stems up with a slur, to indicate that all notes are sustained. But
for Bach keyboard music it is an anachronism, I would think. If
anyone else knows the contrary, please speak up.
Christopher
On Wed Jan 27, at WednesdayJan 27 5:44 AM, dc wrote:
Say you have three voices on one staff, as in the first bars (left
hand), of the Goldbergs (see link to scan below). Assuming the
upper voice has all its stems upwards, the lower voice all stems
downwards, what is the rule for the middle part?
www.collins.lautre.net/files/goldberg.jpg
(By the way, shouldn't the rests in these bars be horizontally
aligned?)
Thanks,
Dennis
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