>|It's a very, very rare notation used by Bach, and no one >|else I know of.
Very very rare in *printed* scores produced by programs that assume a dot means half the value of the note to which it is appended. That was not true in the Baroque era. A dot simply meant that the note was longer, but it might be 50% longer, a third longer, or more than 50% longer (implicit double-dotting), depending on context. When Bach wrote out scores, he aligned the sixteenth note after a dotted eighth with the third note of a triplet of eighths because that's where he expected the short note to sound. And in several of his most popular works, he actually had *equal* eighths in parallel parts (i.e. in parallel with a triplet of eighths and the dotted-eighth/sixteenth combination); e.g., the chorale in BWV 147 or Versus 6 in BWV 4. And then there are the French composers who expected equal notes to be played inégales. Sigh. Bob ------------------------------- [email protected] mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
