Darcy James Argue wrote:
What is the standard way to notate a sixteenth quintuplet when only the final note is played? What do you put under the bracket:
A quarter rest followed by the sixteenth note?
Two eighth rests followed by the sixteenth note?
Four sixteenth rests followed by the sixteenth note?
I just fought this fight with a composer who had a dotted eigthth tied to an eighth, followed to a sixteenth, and defined the figure as a sextuplet. I insisted that a performer is going to look at the figure and assume that the duration of the first note of the figure defines it, and finally persuaded him that it should be notated as a triplet. In your case, Darcy, I would argue that the first note has to be a sixteenth, and while I would consider four sixteenth rests to be ideal, I could live with a sixteenth rest followed by a dotted eighth rest, followed by the sixteenth note if it made the score sufficently less complicated to justify the device. If this were a continuous, or frequently repeated figure, then I think you could perhaps get away after several repetitions with your quarter rest.
ns
think that the first note of any tuplet will be seen as defining the tuplet, so that in this case, the first note should be a sixteenth note.
Hmmm…
I think it depends on the tuplet. I mean, everyone seems to understand the following rhythm well enough:
triplet bracket enclosing a quarter note followed by an eighth note
… but that notation may be an exception, because it's so commonly used.
On the other hand, I would consider replacing the first quarter note in the above figure with a quarter rest unacceptable. (I would want two eighth rests.)
On the other other hand, *four* sixteenth rests in a row seemed kinda like overkill to me, whereas the quarter rest-sixteenth group seems easier to process at a glance.
On the other other other hand, the rhythm only happens once, and I definitely feel you RE: the first note of a tuplet being seen as defining the tuplet.
Hmmm…
- Darcy
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