Hi Robert, As I said, my experience is that whole rests in 7/4 (and half rests in 7/8) increase clarity. If, for instance, the beaming pattern in 7/8 is 4+3, why *wouldn't* you use a half rest for the "4"? The whole point is to help the reader see the 4+3 subdivision instantly, not obscure it.
Cheers, - DJA ----- WEB: http://www.secretsocietymusic.org On 14 Jan 2011, at 11:42 AM, Robert Patterson wrote: > I would stipulate that if the practice is less prevalent now, it is > primarily due to ignorance (caused among other things by notation program > defaults) and the fact that 4/2 and longer meters are so extremely rare in > contemporary music. That said, I expect most editors for major publishing > houses would probably be well aware of the practice. > > As for 7/4, not only would I never use whole rests for partial measures, > similarly I never use half-rests for partial measure in 7/8. I think doing > so would lack clarity. > > On Fri, Jan 14, 2011 at 10:26 AM, Darcy James Argue > <djar...@earthlink.net>wrote: > >> Hi Andrew, >> >> Ah -- I hadn't considered the possibility of multiple voices on a single >> staff. You have a point there. >> >> Cheers, >> >> - DJA >> ----- >> WEB: http://www.secretsocietymusic.org >> >> >> >> On 14 Jan 2011, at 11:18 AM, Andrew Moschou wrote: >> >>> Yes, and the main reason is that a centred semibreve rest is practically >>> identical to a semibreve rest on the second semibreve of a 4/2 bar. This >> is >>> extremely confusing in contrapuntal writing, especially (but not >>> exclusively) if multiple (two or three) voices are written on a single >>> staff. >>> >>> Andrew >>> >>> >>> On 15 January 2011 02:23, Robert Patterson <rob...@robertgpatterson.com >>> wrote: >>> >>>> I sent a message about this from my iPhone but I think the list's spam >>>> filter must have caught it. Ross suggests that industry practice >>>> (obviously, >>>> when he was writing) was to use double-whole rests for 4/2 and longer >>>> meters. I would further extrapolate that quadruple whole (meaning a >> thick >>>> line that spans both 2nd and 3rd space) should be used for 4/1 up to >> 8/1, >>>> but that's a separate discussion. >>>> >>>> You can see an example in the *score* for the Brahms Requiem. All the >> empty >>>> bars in 4/2 meter have centered double-whole rests. Interestingly, the >>>> parts >>>> do not use double-whole rests. Rather, in those cases where there is a >>>> single bar of rest, a whole rest is used with a "1" centered over the >>>> staff. >>>> The "1" is never omitted, and that is an extremely significant detail, >> but >>>> that's not what I'm here to talk about. >>>> >>>> To my eye, a whole rest in a 4/2 bar, even if it is centered, is >> ambiguous. >>>> That is because it also appears as a half-bar rest in that meter. In no >>>> shorter meter can a whole rest appear as a partial bar rest. Even in 6/2 >> or >>>> 7/4, Ross prescribes the use of half rests for all sub-parts of the bar. >>>> (Actually, Ross is silent about 7/4, but I am extrapolating from his >>>> comments.) >>>> >>>> Obviously, ymmv, but as evidenced by the Brahms example, double-whole >> rests >>>> were the industry standard for 4/2 meter in 19th century engraving. >>>> >>>> On Fri, Jan 14, 2011 at 9:26 AM, Darcy James Argue < >> djar...@earthlink.net >>>>> wrote: >>>> >>>>> Really? Why? What is ambiguous about a centered whole rest in an empty >>>>> measure of 4/2? >>>>> >>>>> If a whole rest appears in a non-empty measure, it won't be centered -- >>>> it >>>>> will be attached to a beat. And, you know, there will also be notes in >>>> the >>>>> measure. >>>>> >>>>> Cheers, >>>>> >>>>> - DJA >>>>> ----- >>>>> WEB: http://www.secretsocietymusic.org >>>>> >>>>> >>>>> >>>>> On 14 Jan 2011, at 4:13 AM, Andrew Moschou wrote: >>>>> >>>>>> On 14 January 2011 08:54, Darcy James Argue <djar...@earthlink.net> >>>>> wrote: >>>>>> >>>>>>> Centered whole rests are fine (what could be less ambiguous?) for >>>> empty >>>>>>> measures in any meter. >>>>>>> >>>>>> >>>>>> Not in 4/2. >>>>>> _______________________________________________ >>>>>> Finale mailing list >>>>>> Finale@shsu.edu >>>>>> http://lists.shsu.edu/mailman/listinfo/finale >>>>> >>>>> >>>>> _______________________________________________ >>>>> Finale mailing list >>>>> Finale@shsu.edu >>>>> http://lists.shsu.edu/mailman/listinfo/finale >>>>> >>>> _______________________________________________ >>>> Finale mailing list >>>> Finale@shsu.edu >>>> http://lists.shsu.edu/mailman/listinfo/finale >>>> >>> >>> >>> >>> -- >>> Andrew Moschou >>> Secretary >>> Adelaide University Choral Society >>> _______________________________________________ >>> Finale mailing list >>> Finale@shsu.edu >>> http://lists.shsu.edu/mailman/listinfo/finale >> >> >> _______________________________________________ >> Finale mailing list >> Finale@shsu.edu >> http://lists.shsu.edu/mailman/listinfo/finale >> > _______________________________________________ > Finale mailing list > Finale@shsu.edu > http://lists.shsu.edu/mailman/listinfo/finale _______________________________________________ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
