IMSLP Forums

Hi, I'm typesetting "Til Molde" by Christian Sinding from the original manuscript. It varies whether he uses one stem for each, say, flute part, or writes two separate voices.

Example from the clarinet stave:



Individual stems are clearly needed in the first bar, as the rhythms differ. In the second bar he uses individual stems for the first dotted quarter and then swaps to combined stems. It more or less makes sense in this example, but there are lots of other times where it all seems very random. It looks as if he more often than not uses combined stems in the horn parts, and opposite in the trumpets.

It was probably faster and visually clearer like this with ink and limited space, but with the privilege of using typesetting software I feel I can make this clearer and I am very tempted to use individual stems throughout for consistency. On the other hand, as a pianist I do acknowledge that combined stems do give a slight benefit in terms of sheer reading-speed, albeit on the cost of having a clear image of the voice leading.

Should I, or should I not? Thoughts? Is it nitpicking to even ask?

(Also, I am unsure about the terminology. I'll happily stand corrected if there are better terms for this. )

If you have two flutes parts written on the same staff, I think it's the general rule to put notes on their own stems. Go with the style on the left.

I agree with haydenmuhl. At least, if you adhere to the right side style, do it for all notes. Do not "randomly" change style on some notes
Sinding would probably write very fast. He was not a music typesetter - copper engraving or computer -

The left side style is called polyphonic.

Thanks, guys. So I guess I will follow my gut feeling then, and go with the polyphonic style.

If these are meant to be two voices (i.e., for two different, monophonic instruments), they should be written as reflected by the left-most sample if adhering to modern typesetting standards.

To my mind, you need to decide first what the purpose of the score will be.

Conducting/study scores: while most conductor's scores are done with single stems for multiple notes, this is mainly to solve clash problems with upward stems hitting low notes in the stave above. So, for instance, both bassoon players' notes would have a single stem because an upward stem might clash with low notes in the clarinet line. All of my Beethoven Symphony pocket scores are done with single stems in the wind parts. It's less cluttered and fussy, and the conductor should be able to work out that it's meant for two people . . . And the larger the orchestration, the more space/clash problems you'll have.

Part extraction: modern typesetting programs might not do a correct part extraction if the stem are single, because the program would read these passages as chords, not individual parts.

Playing scores: if the score is to be played from, then for two people playing, stems should be separate, though many times if you get parts with both Flute I and II on the same part, but they each have their own staff (like a lot of the French pieces). In a piano score, multiple notes on a single stem are meant for one hand, and if there are other notes in the same staff meant for the other hand, those notes would have an opposite stem (though pianists don't always do it the way it's divided if something else fits their hand better).

String parts: are mixed according to whether notes are parts of double/triple/quadruple stops (one player=single stem) or divisi (multiple players=opposing stems), though where space is an issue, I've also seen notes on the same stem with "div" above it.

Whatever you choose, try to be consistent, and if that isn't possible, at least make your intention clear in another way, e.g. a musical instruction.

The traditional engraving practice was to use separate stems (polyphonic notation) except for extended passages where two instruments were in parallel (octaves, sixths, thirds, etc.). This rule was not followed very consistently by publishers or engravers, usually for the spacing reasons cited by steltz above.

Thanks to all -- much food for thought! I think I will be hiding empty staves (except for when there is information on the corresponding stave on a facing page, of course), so space won't be much of an issue. Not quite decided yet, but I think I will do polyphonic style consistently. I suspect/hope it also will streamline parts extraction.