![]() But most scores divide the dotted quarter rest into a quarter rest and 8th rest. I'm trying to avoid dotted quarter rests in 6/8 meter, but it would not be proper for me to claim that it is wrong. The calligrapher could not make up his/her mind. In the old Kalmus (or similar publisher) score of Dvorak's 7th symphony, movement one (in 6/8 meter) that is written by hand in ink, there is an early measure where there are two 8th rests followed by two 16th notes in one staff and there is a quarter rest followed by two 16th notes directly below it. And what if the pick up is two 16th notes? Some scores will use to 8th rest preceding this and some will use a quarter rest.Īnd in some scores there is no consistency from page to page. Some scores will place two 8th rests followed by an 8th note for the first beat but will use a quarter rest followed by an 8th rest for the second beat. Most scores will use a quarter rest followed by an 8th note in 6/8 meter, regardless of whether it is the first beat or the second beat. What is somewhat more difficult to find a consensus is when the pick up is a note in 6/8 meter: Now in 9/8 meter and 12/8 meter the dotted quarter rest is considered by almost all references to be perfectly fine. Yet, I find that a lot of well done modern scores still use a quarter rest and 8th rest in 6/8 meter. A recent notation textbook mentions that dividing the rest into a quarter rest and an 8th rest is unnecessary and the dotted quarter rest is perfectly fine. I have a Dover score of a Tchaikovski piece where in 6/8 there are many, many dotted quarter rests. There are many, many scores where in 6/8 meter the dotted quarter rest is replaced by a quarter rest and eighth rest. In 6/8 there is some variation as to how it is done. In 2/4, 3/4 and 4/4 meter, one never dots rests. The use of the dotted half-rest is advisable only in Temporal length however, in simple time the half and quarter rest are "All rests may be dotted exactly as notes are dotted to increase their That's the simple rule that I follow, and I Quarter rest + eight rest says you enter on No, they are OK in triple meters like 6/8, to What do major publishers prefer? Does anyone care? I am inclined to notate it quaver rest, semiquaver rest, semiquaver.but is the dotted quaver rest okay?ĭo you have any thoughts? What does Ross say? (he seems to have something to say about everything). I am doing a songbook, and the arranger has notated a rhythm where there is a dotted quaver rest at the start of the bar, followed by a semiquaver. ![]() Are they always wrong? Are they right but frowned upon? Are they okay in some cases and not others? I'm sure this is a very basic question, but I don't have a book handy that will give me the answer.ĭotted rests. b).MakeMusic Forum > Public Forums > Finale - Windows - FORUM HAS MOVED! > Dotted rests a), or, more commonly, a thick horizontal line is drawn in the stave, and the number of bars which have to be counted in silence is written above it (Ex. To express a rest of longer duration than one bar, either the bâtons of two or four bars are employed (Ex. 63.) Accordingly we find rests corresponding in value to each of the notes then in use, as shown in the following table.īy a license the semibreve rest is used to express a silence of a full bar in any rhythm (hence the German name Taktpause) its value is therefore not invariable, as is the case with all the other rests, for it may be shorter than its corresponding note, as when used to express a bar of 2–4 or 6–8 time, or longer, as when it occurs in 3-2 time. Franchinus Gafurius, in his 'Practica Musicæ' (1496), says that the Rest 'was invented to give a necessary relief to the voice, and a sweetness to the melody for as a preacher of the divine word, or an orator in his discourse, finds it necessary oftentimes to relieve his auditors by the recital of some pleasantry, thereby to make them more favourable and attentive, so a singer, intermixing certain pauses with his notes, engages the attention of his hearers to the remaining parts of his song.' (Hawkins, 'Hist. In earlier times the cantus was sung without pauses, or with only such slight breaks as were necessary for the due separation of the sentences of the text, but so soon as the relative duration of the notes was established, the employment of rests of like proportionate values became a necessity. The employment of the rest dates from the invention of 'measured music,' that is, music composed of notes of definite and proportionate values. The sign of silence in music, the duration of the silence depending upon the form of the character employed to denote it.
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