Hey Bill,
I appreciate the advice, but 1) and 2) aren't dilemmas. It's the
*combination* of 1) and 2) that creates the dilemma.
And like I said, there's no upbeat. There's a fermatta on beat 2,
and then the next entrance is a new tempo on beat one of the
following measure, with lots of resting instruments coming in on beat
one.
But all that aside, I find it interesting that you'd use a dotted
quarter rest in 4/4 under the circumstances you describe. As you
know, that's very nonstandard (I personally would not do this and
have never seen it) but obviously you know what works for you and
your clients. I guess it's one of those persistent West Coast/East
Coast things -- dotted eighth rests in 4/4 are definitely Not Done
out here.
- Darcy
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[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 14 Dec 2005, at 7:49 PM, bill wrote:
From: Darcy James Argue <[EMAIL PROTECTED]>
Reply-To: [email protected]
Date: Wed, 14 Dec 2005 19:38:25 -0500
To: [email protected]
Subject: [Finale] Fermattas in resting parts
A minor dilemma:
1) Whenever there is a fermatta, I like to indicate it in resting
parts as well (breaking multimeasure rests if necessary). I also like
to indicate the beat the fermatta falls on (in the resting parts as
well) -- so if the fermatta is on beat four, the resting parts won't
just have a whole rest with a fermatta, they will have a whole rest,
a quarter rest, and then a fermatta'd quarter rest.
Enter actual rests in the resting parts and apply the fermata to
the target
rest. Multimeasure rests will be broken for that measure, and it
will be
clear as a bell to the resting player, especially appreciated by
orchestral
percussion players.
2) I don't like to use dotted rests except in compound meters.
That would depend on the rhythmic pattern being played elsewhere. For
example, dotted-quarter/eighth repeated patterns are much more clearly
indicated with a dotted quarter rest then a quarter/eighth.
3) But in 4/4, if the fermatta'd note is a dotted half note on beat
2… and then there are a lot of instruments making entrances in a new
tempo on beat 1 of the following measure… it seems like a dotted half
rest w/fermatta might be the best solution in this case?
It depends on where the upbeat to the next measure is and what is
going on
with that upbeat. Always allow some clear representation of what
the upbeat
is (and what's going on with it) with either a note or a rest.
Bill Duncan
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