I'm just kind of here.
Well Pianoth, this was fun. I'll make a quick final reply to your post (which you may not even read!) but it's clear here that we come from different musical backgrounds and have different sets of ideologies.
1. I still think mine is clearer than any of the other options you gave, but thanks for posting them!
2. Well, I meant read and comprehend
the musical meaning behind the technique. This is such a minuscule thing to textwall over, since regardless of whichever way we wrote that passage, it would still be understood.
3. Noooooo I didn't mean for you to have to post all of that! I was just taking tid-bits of things that you don't usually see or that you could rewrite in more standard ways to fit this discussion. I was not posting "hey, lets analyze all of these rn okay go!" I thought that was apparent from the beginning, lol. Also, say what you want about that Ives excerpt, I guarantee that you won't find that technique used anywhere else. (Now if we're talking about our own compositions, I've done some pretty neat things, too. One that comes to mind was a three part fugue that I wrote using twelve-tone technique, but we can talk personal works elsewhere!)
4. I know what you were suggesting, I was just using the ends to justify the means. Even if you added the second stem after
the downward stem, you would still be left with two stems on a single note, not to mention, the order in which you add the stems cannot be determined from the end product! xD
5. I think you misread the quote in this fifth spot; I was not asking a question, lol. There was a musical reason I did it this way, but with how long our posts have been I can forgive you for overlooking it.