At 10:05 AM -0500 5/01/02, Doug Auwarter wrote:
>on 5/1/02 5:11 AM, Christopher BJ Smith at [EMAIL PROTECTED]
>wrote:
>
>> The way you are doing it is officially (according to what I learned)
>> correct, as your second example uses syncopated rests, which is a
>> no-no.
>>
>> For manuscript, I have told my students to avoid dotted rests
>> altogether, unless in triple metre.
>The heart of the issue is "for what purpose is this notation?" If it's a
>lead-sheet or something similar, the dotted eighth rest is preferable in
>both instances, as it clearly completes the beat. But in a more traditional
>format, there would be many who would turn up their noses. For me, the fewer
>things I have to read in the space of one beat, the better--I'd rather see a
>dotted eighth rest than a 16th followed by an 8th any day.
>Doug
Hmm, Doug, we seem to be in disagreement again. ;-) My opposition
to dotted rests in general, and syncopated rests in particular, is
stronger in a lead sheet or jazz/commercial situation than in an
orchestra or concert solo situation.
Clinton Roemer ("The Art of Music Copying") seems to agree with me
about dotted rests, EXCEPT for dotted eighth rests, which is the
exception he allows (agrees with you), even to complete a beat after
a sixteenth note.
I have to say, that the difference to my ear between an isolated
on-beat eighth note and an isolated on-beat sixteenth note is too
small for me to bother with, and so that notation rarely shows up in
my work. I prefer to write eighth-note, eighth-note-rest rather than
sixteenth-note followed by any combination of rests.
Christopher
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