Darcy James Argue wrote:
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.
2) I don't like to use dotted rests except in compound meters.
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?
If the fermatta'd note is a dotted half-note in all the parts which are
playing, then it should be a dotted half-rest in all the resting parts.
This is one instance where using a dotted rest isn't a bad thing, since
it's an easy rhythm to interpret and any other combination of rests
won't accurately reflect what's happening.
If you use a quarter-rest-tied-to-half-rest with the fermata on the
quarter-rest (since the fermata begins on beat 2 in the playing parts)
those with rests will expect beats 3 and 4 to be conducted. The same
confusion will happen if you use a syncopated quarter-half-quarter rest
scheme with the fermata on the half-rest.
My advice (from years of experience as both a player and a conductor) is
to make the rhythm of the rests match the rhythm of the playing parts
with fermatas. It'll save valuable rehearsal time since the conductor
won't have to explain things and nobody will have to write things in
their parts (which would probably be a dotted-half-rest anyway.)
--
David H. Bailey
[EMAIL PROTECTED]
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