The short answer is that that isn’t the way Bartók chose to do them, even if I would personally do them that way and if a goal is to represent the composer’s intent, then that’s changing things. As others in the thread indicated, it’s more common than I realized, so it presumably serves a function.
Arle -- Misit de iPhone meo. > On Jan 20, 2020, at 06:00, Simon Albrecht <simon.albre...@mail.de> wrote: > > On 14.01.20 18:15, Arle Lommel wrote: >> Why Bartók didn’t simply show the bottom D in the treble clef is an >> interesting question. I think he was trying to keep the relationship between >> the hands clear, but couldn’t quite include the upper D in a way that made >> sense without splitting it like this. Had he put the lower D in the treble >> clef where it more apparently belongs, it might have led to confusion about >> which hand was to play it. > > To me the question would be why these two chords can’t be all stem-down, i.e. > with the beam within or below the lower staff. That would put the noteheads > on the same side and allow for using common constructs. > > Best, Simon >
