Notating Tied Arpeggios

[Glenn Simonelli]

I've just completed a choral piece with piano accompaniment (posted in the Music Dissection section under this thread: New Choral Piece - Wild Mountain Thyme) and a commenter suggested that I remove the ties in the bass clef of the piano part by notating the part in two voices. I've done this, and it's an improvement, but 2 voices aren't enough to get rid of all the ties. Most measures require 3 voices, and several require 4. I'm not sure which notation is best.

I've put together a brief PDF file with several different measures notated with my original notation, then notated as 2 voices, then 3, and in a few of cases 4 voices. I'd really appreciate it if people would take a glance at the different examples--the file is called "Notation"--and let me know your opinion. Or maybe opinions aren't even appropriate? Is there an obvious right or wrong way to notate this? Thanks for any suggestions.

[Marius Amado-Alves]

Of course if it is on a stack then it starts when the stack does, but from your description of your notation for bar 47, I have not derived such a stack--and maybe that's what I've missed. Please check the attach notation. And check back :-)

[Jan Civil]

LOL
yeah duh. you'd put a rest under that sucker. just cause it looks messed up if nothing else.

I lose the plot sometimes.

I would have the stems for the b bass note going down, a rest under that last 'middle b', and that's that. since it's for choral people. for a straight piano picker, your way, typically what I've done in fact, lotta the time.