Schubert Impromptu Op. 142 #2 (2) - Voices

[geschema]

In order to practice the different voices in the first part, I started making a score where the voices are split in 4 staves (as suggested by Bernhard here https://www.pianostreet.com/smf/index.php/topic,2893.msg25659.html#msg25659).

Now, since this is the first time I'm doing this, I'd like to get some feedback about my score. There are a few things I'm not sure about, like whether the first note belongs only to the first voice, or to both the first and the second voices. Same question for every place I put a rest in the 2nd and 4th voices.

Here is what I've got so far:



Many thanks,
Guy.

[Mozartian]

Wow, that's a lot of work, heh.

[ramseytheii]

In order to practice the different voices in the first part, I started making a score where the voices are split in 4 staves (as suggested by Bernhard here https://www.pianostreet.com/smf/index.php/topic,2893.msg25659.html#msg25659).

Now, since this is the first time I'm doing this, I'd like to get some feedback about my score. There are a few things I'm not sure about, like whether the first note belongs only to the first voice, or to both the first and the second voices. Same question for every place I put a rest in the 2nd and 4th voices.

Here is what I've got so far:


Many thanks,
Guy.

Unless the first note is stemmed both up and down in your score, I would keep it in this arrangement just for the top.  And if you were arranging this hypothetically for string quartet, and the note was stemmed in the original both up or down, I would still voice it only for the top.  The reason is there is no reason to double a note which is clearly leading to another single melodic tone.

Walter Ramsey

[geschema]

Unless the first note is stemmed both up and down in your score, I would keep it in this arrangement just for the top.  And if you were arranging this hypothetically for string quartet, and the note was stemmed in the original both up or down, I would still voice it only for the top.  The reason is there is no reason to double a note which is clearly leading to another single melodic tone.

Walter Ramsey

Thanks a lot, Walter.
Guy.