![]() On this point, the two scores of the two videos are therefore correct. Beethoven’s piece begins on the third beat, each beat being equivalent to an Eighth Note, so the piece should have started with two Eight Rest. ![]() It is also customary to delete the silences placed at the beginning of a piece. Similarly, the dotted rests in bars two and six have been replaced by a Whole Rest: when a bar is empty, we always use the Whole Rest. In the score of this second video, the dotted Height Rest at the left hand has been replaced by a Sixteenth Rest and an Eight Rest (the piece being written at 3/8, which means that the piece is at three beat and that each beat is worth an Eighth note, it is normal for the Sixteenth Rest which replaces the Sixteenth Note on the second part of the second beat to be written before the Height Rest which replaces the Eighth Note or the two Sixteenth Notes of the third beat ). He also used a dotted Quarter Rest (left hand, bars 2 and 6), which is correct from a mathematical point of view but wrong from a musical theory point of view: as mentioned above, when a bar is empty, we always use the Whole Rest.Īs for the tempo indication, Quarter Note = 44, and although the metronome was invented during the composer’s lifetime, it is not from Beethoven’s hand In the first video, the musician chose – or let his software choose for him! – to use a dotted Height Rest instead of a Sixteenth Rest and an Eight Rest (left hand, lower musical staff written in Bass Clef, bars 4, 5, 7, etc.). Thus, for example, to replace a dotted Half Note with a rest of an equivalent duration, we will use a Half Rest (corresponding to the Half Note) and a Quarter Rest (the dot placed behind a Half Note is worth a Quarter Note).īelow are two scores of Beethoven’s famous play, For Elise. No musical knowledge required! Dotted RestĮven if it is possible and can sometimes be found in contemporary compositions (or old compositions edited and published by computer), it is not customary to dot silences.
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