Lee,
As I said, there's a new tempo immediately following the fermatta.
If the tempo didn't change in the following measure, I would probably
be okay with a fermatta over a whole rest, but that's not the case.
The resting players need to know what's going on in the measure with
the fermatta so they don't &#ยข% up their entrance in the following
measure (which, as I said, is in a new tempo). But Bill's suggestion
of cue'ing the notes in the resting parts (dotted eighth-sixteenth-
dotted-half w/fermatta) seems a bit fussy to me.
I'm inclined to think the dotted half rest does the job with maximum
efficiency, nontraditional though it may be.
- Darcy
-----
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
I appreciate your desire for consistency, but obviously something's
gotta
give. Personally, I also always show fermatas in resting parts,
but I only
show the exact beat if the fermata doesn't take up the rest of the
measure;
i.e., I would show a fermata on beat two in a resting part if the
regular
tempo resumed on beat 3 or 4, but in your example I'm quite happy
to show
the fermata on a whole rest. I think as long as the regular tempo
resumes
immediately following the fermata, it will be completely clear and
unambiguous to the player. The dotted half rest seems
unnecessarily fussy
to me, but I can understand why you would go with it.
Lee Actor
Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic
http://www.leeactor.com
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