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Posted

Let's say you are writing three or more voices, or a short chord of 5-6 notes within the measure. Do you write the rests for each voice, or do you omit them? If you look at Bach french suites, he omits the rests often. So, how do you act?

Posted

I just looked it up for you, because I had no idea either, and the current rules open to your best judgement. 

 

1.  For keyboard instruments, if you're in strict counterpoint, each part has separate stems and it's own rests to clarify the positions of the voices in relation to each other and the number of parts.  So if only one part is currently playing, every other part gets it's own rests.  

 

2.  But, where notes are more chordal, and less individual parts, they can share stems and rests to keep the score tidy.  

 

3.  It's also acceptable to visually point a melodic line or a counter melody using separate stems, but without additional rests.  

 

4.  Unless you are in strict counterpoint, use rests sparingly, to keep the rhythm clear, but without cluttering up the score.  Whole bar rests in particular can generally be omitted unless there is extensive part writing.  

 

Does that help?

Posted

I just looked it up for you, because I had no idea either, and the current rules open to your best judgement. 

 

1.  For keyboard instruments, if you're in strict counterpoint, each part has separate stems and it's own rests to clarify the positions of the voices in relation to each other and the number of parts.  So if only one part is currently playing, every other part gets it's own rests.  

 

2.  But, where notes are more chordal, and less individual parts, they can share stems and rests to keep the score tidy.  

 

3.  It's also acceptable to visually point a melodic line or a counter melody using separate stems, but without additional rests.  

 

4.  Unless you are in strict counterpoint, use rests sparingly, to keep the rhythm clear, but without cluttering up the score.  Whole bar rests in particular can generally be omitted unless there is extensive part writing.  

 

Does that help?

Yes, very helpful, where did you read this by the way?

Posted

Yes, very helpful, where did you read this by the way?

"Behind Bars" by Gould.  650 pages of answers to every notation question you ever wanted to ask by one of the editors at Faber.  With a good index and good footnotes within the text:  "for conventions in harp notation see p. 457…"  that sort of thing.  Just got it, and it's really helpful.  It's like the Strunk and White style guide for sheet music.  More of a reference book than something that you sit down and read.  

  • Like 1
Posted

"Behind Bars" by Gould.  650 pages of answers to every notation question you ever wanted to ask by one of the editors at Faber.  With a good index and good footnotes within the text:  "for conventions in harp notation see p. 457…"  that sort of thing.  Just got it, and it's really helpful.  It's like the Strunk and White style guide for sheet music.  More of a reference book than something that you sit down and read.  

Thanks, I wish there was a digital version of that book, since I read everything on pc or tabets now...

Posted

You omit rests only if two (or more) voices share the same rest pattern and therefore the rests can represent both voices by the same symbol. It is similar to using the same stem for two voices even though technically they're separate notes they're the same rhythmic values so you can write them together. All it does is reduce clutter, which sometimes is paramount to keeping things "technically correct."

Posted

I think in this day and age, you have to go with what you think is most logical and clear (rather than trying to figure out what is 'traditionally correct'). I actually do this a lot in my own music and create rhythmic continuation between different voices by vertical alignment and ties, among other things. I've attached a short score for reference. Hope this helps.

 

https://app.box.com/s/rmntlk3j5luftiloyas8

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