I want to see 6/8 at sight so I don't miss it. My brain is old and I
have to do a lot of sight reading :)
Richard Smith
Robert Patterson wrote:
I tend to prefer legibility over consistency. If there is quarter note
at the beginning of the bar, I would probably write 4 8r 4r 8. But if
there is only the 8th at the end of the bar I would probably write
4r-dot 8r 8r 8. Many reference books advocate not using dotted quarter
rests in 6/8, but I have come to disagree with them in many
situations.
On 11/6/07, Aaron Sherber <[EMAIL PROTECTED]> wrote:
Hi all,
I'm curious as to how you feel about notating sub-beat rests in
compound meters. In particular, something like a 6/8 bar with two
eighths of silence and an eighth pickup to a dotted quarter on beat
2. Should the rests at the beginning of the bar be two eighth rests,
or a quarter rest?
Gardner Read seems to come down fairly unequivocally in favor of a
quarter rest here, but when I see it on the page, it looks a little
funny; I keep wanting to play the eighth on beat 2. At the same time,
a series of eighth rests can be disorienting, like this in 6/8
(q=quarter note, e=eighth note, r=eighth rest):
q r r r e
Those three eighth rests can visually be hard to parse. On the other
hand, I find this far preferable if the 6/8 is in 6 rather than 2.
I suspect this is one of those things where people feel very strongly
about their own preferred method, and I'm not looking to start a
religious war over it. But I am interested in hearing different approaches.
Thanks,
Aaron.
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