Jacki,
I hate to the bearer of bad news, but both examples in your snapshot are wrong.
Staff 2 is closer to being correct, but the pairs of tied sixteenths beginning on beats 3.25 of m.1 and beats 2.25 and 3.25 should be written as eighths. The tied eighth-sixteen pair on beat 3.25, m.1 should be a dotted eighth. When eighth notes fall entirely *within* a beat and do not cross the beat line, they should not be written as tied notes.
However, Staff 1 is dead wrong. When a measure contains sixteenth notes, you *must* show every beat. You can't have eighth notes that cross beat boundaries, e.g., beat 2.75. *Those* eighths must be written as tied pairs.
These rules apply for both voice and piano. (Old-fashioned practice for voice is different, but today vocal music is beamed the same as instrumental music.)
For more information on these and similar notation issues, I highly recommend Steve Powell's _Music Notation Today_ or Gardner Read's _Music Notation_, both available here:
http://www.npcimaging.com/
- Darcy ----- [EMAIL PROTECTED] Brooklyn, NY
On 26 Apr 2005, at 9:55 PM, Jacki Barineau wrote:
Boy, it looks like I really stirred things up with my question about suspended chords, etc.!! Hope this one is more straightforward!
I was wondering which is the proper way to notate syncopated rhythms for
vocals... Whether, for example, it's better to use all 16th's and tie the
syncopated notes together - or to use 16th's followed by off-the-beat
8th's...? I've taken a snapshot which shows the 2 ways I'm referring to -
Staff 1, measure 1 is showing method 2 - Staff 2 is showing method 1...
Which would be correct for vocals? And would you notate a piano (or any
other instrumental) part differently? I've uploaded the snapshot to my web
site at:
http://www.ourlittleplace.com/snapshot.jpg
Thanks!
Jacki
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