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Dotted note
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==Notation== If dotted note is on a space, the dot is placed in that space. If the note is on a line, the dot is placed in the space above. This principle also applies to notes on ledger lines.<ref>Glen Rosencrans, ''Music Notation Primer''. New York: Passantino (1979): 29</ref> :<score sound> { \relative c'' { \time 4/4 c4. d8 b8. a16 g4 } } </score> The placement of dots need not follow this convention when space does not allow for it. For example, when dots apply to adjacent notes in a chord or notes in multiple voices. :<score sound> { << \clef treble \relative c'' { \time 4/4 \stemNeutral <b c>4. e8 <g, a b c d>4. b8 \stemUp d4. c8 b8. c16 d c8. } \\ \relative c'' { s1 g4. a8 b8. a16 g a8. } >> } </score> Any note value can be dotted, as can [[rest (music)|rest]]s of any value. If the rest is in its normal vertical position near the middle of the staff, dots are placed in the third staff space.{{sfn|Read|1969|loc=p. 119; p. 120, ex. 8–28. The author points out the obvious fact "that it is impossible to tie rests"}} Dotted rests are conventional in compound meters but can sometimes be used in simple meters as well. :<score> { \relative c'' { \time 6/8 r2. r4. r8. r8. } } </score> In Baroque music, dotted notation was sometimes used to indicate [[Tuplet|triplet]] rhythms when the context makes it obvious. Dots have been used across [[bar (music)|barlines]], such as in [[H. C. Robbins Landon]]'s edition of [[Joseph Haydn]]'s [[Symphony No. 70 (Haydn)|Symphony No. 70 in D major]], but this usage is obsolete—a tie across the barline is used instead.{{sfn|Read|1969|loc=pp. 117–118. "Ranging from Renaissance madrigals to the keyboard works of Johannes Brahms, one often finds such a notation as the one at the left below." (The next page shows an example labeled "older notation" of two measures of music in {{music|time|4|4}} of which the second measure contains, in order: an augmentation dot, a quarter note and a half note.)}}
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