2

eg. Liebestraum no. 3, right hand, bars 1 and 2.

Liebestraum sheet

also Schubert Impromptu op. 90 no. 3

Lastly, any idea how this is achieved in Sibelius/Musescore?

Thanks

  • pedal notes? And why/how can the rests be played while the pedal's held on? Never understood that. – Tim Apr 20 at 9:29
  • I wouldn't ca it "pedal" because that "C" belongs to both chords - Ab and C7. – Peter Z Bugarchich Apr 20 at 12:31
1

Actually this is nothing else than an arpeggio.

You can notate it like simple 4 voices piano part. (s.below)

In German we call this Akkord-Zerlegung (that is translated in english chord analysis) but this is nothing else than a guitar accompaniment or by a harp. So I'd call it just an arpeggio with a sustained (bass) note.

You'll have to notate the voices in different layers, but then you'll have to hide the rests in some voices to get a readable sheet product.

Try to notate it the 4 voices in 4 different channels and systems and then mix them together in one grand staff.

Edit:

any idea how this is achieved in Sibelius/Musescore?

Notate the in Sibelius 4 different voices:

or 2 voices in the treble clef and 2 voices in the bass clef:

and if you have all 4 voices in one staff you can separate them later:

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2

You'll need different voices to notate these (see this MuseScore handbook page; Lilypond uses the same terminology).

I'm not sure this particular situation has a specific term. It looks like a melody-dominated homophony the right hand is doing a part of the accompanying, usually the job of the left hand.

Another well-known example is the first movement of Beethoven's Moonlight Sonata, which is described as follows:

A melody that Hector Berlioz called a "lamentation", mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand.

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