Cross-staff conflict
How can I achieve to have tied notes from the previous measure and cross-staff situation, when the notes which are in the Bass clef, technically in the Treble clef? No program (I tried Sibelius and Musescore) allows me to do this.
I also tried to write that right-hand passage in Bass clef and then cross-staff it up, different voices, but all that just messes it up and complicates the use of articulations and destroys the whole picture.
Any help would be appreciated.
This is how it should look in my view.
Update:
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Your "how it should look" looks pretty good to me as is. But I think that your issue is trying to beam through the 16th rest at the end of bar 1. Don't do that. It's at the very least confusing; beaming two notes together is one thing and rests are another, so the group you have there creates a reading conflict that has to be sorted.
So, I would say just make your last note (FC) with an upward stem and a flag, exactly as it is at the beginning of bar 2. Then you can tie them.
Ditto for the last 16th note in each bar with the tiny stem. Don't beam it with the previous note. Do it the way Old Brixtonian has it in his answer.
Finally, there isn't any such thing as notes in the bass clef that are "technically in the treble clef." That's like saying that something purple could "technically" be yellow. Seriously, though I think what you are getting at is notes above middle C that are written in the bass clef. That is done all the time; it's whatever works best.
For some ideas from a master composer, have a look at all the tricks that Liszt pulls in his Un Sospiro to make his intentions clear. Look also at how the performer breaks up the melody and arpeggios between the hands. You will probably find it instructive to study this piece in some detail:
In the first measures before the melody comes in, it's typical to take the notes in the bass clef in the left hand and the treble notes in the right. Once the melody comes in (written in a second treble clef for clarity, the usual fingering is to alternate the left and right hands (see if you can work out why), as you see the performer doing here. That is the basic way to finger most of the piece, even as Liszt begins to add extra notes in the melody as he is so fond of doing.
Is this OK?
I did a couple of things to make it less cluttered: using staccato quavers instead of semiquavers with semiquaver rests, and making the chord at the start of bar 2 a fraction longer. You can easily change this back of course.
I broke up the beaming a bit too. It might be clearer if you also gave the left hand's beats 4 and 5 their own separate beams. I would, but it's up to you.
I'm not sure what you mean when you say you did it manually. I used Sibelius. Didn't need voices, btw.
Interesting, this is actually kind of a tricky challenge! My first thought is to use voices: Have the first run in the top staff, voice 1, tied into measure 2. Have the second run in the top staff, voice 2. You'll then get a bunch of extra rests in measure 2 from voice 1, which you'll need to hide.
You said, "since this is one monophonic passage for one hand, I wouldn't want it to be split." But splitting the beams has nothing to do with which hands s/he uses. And anyway, however you write it the pianist will use both hands. Why not? His/her left hand has nothing else to do!
You said, "I assume it would be clearer if three notes from the Bass clef and the rest nine notes from Treble clef would be connected by one solid beam" No it wouldn't! Rather the opposite.
So your main problem is that the tied fifth gets in the way of the arpeggio restarting in bar 2, yes? There are three solutions: Use the pedal to sustain the fifth (as I've done at the end of bar 1 below) or mark it with a tenuto (as I've done at the end of bar 2 below), AND/OR use the L.V. (lascia vibrare) symbol. If the tempo is Presto the precise length is not a very telling musical thought and isn't worth bothering too much about, but I'd probably go with a tenuto and a L.V.
Note that I've made further corrections to the grammar. Grouped this way the beats are much easier to count.
[I just noticed I got some pitches wrong earlier. Sorry.]
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