Moving second voice note to the right of first voice note, how?
So, I've been analyzing Bach's Fugue in C minor and it's involving a lot of octave changes(I find that especially common when switching from first to second voice, but even within the same voice, I sometimes have to do it, which is easy with the CTRL + Up or Down shortcut) and cross staff beaming(Very similar shortcut to the octave change, just a Shift is in between the CTRL and Up or Down), but then I come across this in bar 16:
At the second eighth note, the A natural in the first voice and the G in the second voice are too close, it looks like they've merged. I need to move the G in the second voice over to the right a little without making the first voice also go to the right. Let me guess, I have to go into the Inspector and adjust the X offset to be positive?
| Attachment | Size |
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| Analysis of French Suite no. 2 Allemande.mscz | 37.17 KB |
Comments
Known issue with cross staff notation, see #309707: In cross staff notation, voice 2 overlaps voice1
Workaround: Use that note's chord offset in Inspector.
Better workaround - don't resort to cross-staff notation for this, it's completely unnecessary. Just notate the voice on the staff where it occurs, even if that changes from measure to measure. Thie example should have two voices in the top staff, one on the bottom, no cross-staff notation involved.
In reply to Better workaround - don't… by Marc Sabatella
Except the sheet music I’m referencing has cross staff notation. Example, bar 15, where there’s an eighth note in the bass staff beamed to 2 sixteenths in the treble staff. Or bar 3 where the left hand moves from being in the second voice in the treble staff to the bass staff. Or bar 6, which is similar to bar 15.
https://www.mfiles.co.uk/scores/book1-fugue02.pdf
In reply to Except the sheet music I’m… by Caters
Yes, so use it when you have to but don't use it if you can avoid it.
In reply to Except the sheet music I’m… by Caters
Exactly, Any measure that doesn't need it, you're better off entering the notes directly onto the staff where the voice appears. Only if the voice changes staff mid-measure would one need to contemplate whether to use cross staff notation. Even then, it's often not needed.
That said, it doesn't hurt to use cross staff notation when not needed, it just creates more work, as you will like need to fix collisions but also often adjust stem directions and position of rests. Sinme people do consider this worthwhile as it makes navigating the inner voice by keyboard easier, which can be useful in preparing a score for a blind user.