Yes and furthermore, the original question was pertaining to
placement of a dotted half rest starting on beat 2 of a pickup
measure. Syncopated rests (held over to a stronger beat) are NEVER
used in modern notation, whereas syncopated notes are commonplace. I
stand by my original answer. Archaic examples from the literature are
not germane to a modern context.
Christopher
On Mar 12, 2009, at 11:31 PM, Darcy James Argue wrote:
De gustibus, etc.
The double-dotted half note on beat one is one of the most useful
and commonly used ways of notating ubiquitous swing rhythms like
"long note on one, short note on and of four" or (when tied to an
eighth at the end of the previous bar) "long chain of long notes on
the and of four." Carving those notes up into half-tied-to-dotted-
quarter is unnecessarily cluttered.
On the other hand, I think dotted rests longer than dotted eighth
rests in non-compound meters are not only a pain in the ass to read
but almost invariably look amateurish.
I think the rationale for allowing dotted notes but disallowing
dotted rests that have the same duration has to do with the
psychology of playing sustaining instruments. The most important
thing is that the location of the attack be absolutely,
unmistakably clear to the player, and rests that show the beat
pattern clearly help people place accurate attacks more easily.
Cheers,
- Darcy
-----
[email protected]
Brooklyn, NY
On 12 Mar 2009, at 8:16 PM, dhbailey wrote:
David W. Fenton wrote:
On 12 Mar 2009 at 7:21, Christopher Smith wrote:
you ignore the opinions of every recognised expert in the field
who has published a book on the subject. That HAS to count for
something?
For me, it counts for exactly ZILCH.
I've always wondered whether these "experts" (whose opinions I pay
attention to when they make sense to me) were experts who wrote
books on notation or did they write books on notation and by dint
of that fact alone have been accepted as experts.
Surely we could put together an equal and opposing number of
position papers on the use of dotted rests being A) clear to the
performer; B) as easy to read with a little practice as any other
facet of notation is for those who aren't comfortable with them;
C) more helpful in terms of indicating the phrasing than using
undotted rests to equal the same rhythmic space.
I'm with the "if it's clear and easy to read it's fine" school of
notation, which allows dotted rests and eschews double-dotted
notes. :-)
--
David H. Bailey
[email protected]
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