Don Simons wrote:
David Raleigh Arnold wrote
This is clear in keyboard music only. With a stringed instrument,
side-by-side noteheads indicate that there are actually two notes
to be played on two different strings simultaneously. This is
less usual than playing a single note, in which case you want
a single note head.
On a harpsichord, which is definitely a keyboard instrument, it would also
be possible to play two different but equal-pitched notes, one with each
hand on a different keyboard. However, in the rare cases where this is
intended, it is practically always indicated in some way that is more
explicit that a stemming convention.
Trust me, there is a very good reason for using two stems on the same
note head in guitar music.
I don't disagree with that. There is good reason for it in contrapuntal
keyboard music as well. In fact, I just checked Gardner Read's chapter on
keyboard notations. He basically espouses the method that was proposed here
originally (open head for the note with two stems; black head for the
others). Also, somewhat to my surprise, he does not even mention
side-by-side noteheads, except if the longer note is a whole note.
There seems to be a need for side-by-side noteheads in violin music. In
the violin concertos by Christian Ræhs (a Danish, by no means genious
composer) there are examples of that, eg.
http://icking-music-archive.org/scores/c.raehs/XM55-vlc.pdf. I suppose
the meaning of the duplicate noteheads is to indicate that the pitch in
question should played on different strings.
There is a clear difference in
interpretation between using a stem and beam instead of an eighth
rest.
I don't have any quarrel with that either, and I never suggested otherwise.
--Don Simons
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Christian Mondrup, Sheet Music Editor
WIMA: Werner Icking Music Archive
http://icking-music-archive.org/
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