Dotted note

The stippling is a symbol in musical notation: A dot after the note is an extension of their duration at half their value. Similarly, a pause character may punctured and so the break will be extended by half.

Notation

Since notes are read from left to right, the point is written to the right of the note or rest question. If the bill on a line, the point located in the next higher intermediate space. This extension point must not be confused with points above or below the note head, the staccato call (a form of articulation ) in the Classical era occasionally accents.

Since the point symbolizes a rear attached Sheet half period of the symbol, the usability of the position of the main note depends on the metric within the grid. If, therefore, for example, a dotted quarter note in 3/4-time not start on a beat, but exactly in between, their notation as a quarter note plus point would be incorrect; they must be written as eighth note with an attached ( by a tie ) district.

Identifies the thus extended notes are punctuated by the adjective, so for example, dotted half or dotted quarter; also three quarter note, eighth note, etc. Three are common

Double and Mehrfachpunktierungen

At dotted notes another point can be added in the notation. This does not extend the entire note, but the first point represented by the length again by half. So a double dotted half has the length of a quarter Half plus -plus eighth note.

In the triple dotting the third point extended the note value corresponding again to the half of the second point. Triple punctures are virtually unknown in the music of the Baroque and Classical periods, but occasionally can be found in the music of the Romantic and late Romantic period, such as Frédéric Chopin, as well as regularly with Richard Wagner and Anton Bruckner. Theoretically, the number of Mehrfachpunktierungen could go on and on, extremely rarely found in practice, however, a maximum of four times punctures.

The length of any note a with n points can be easily calculated using the following formula:

Term dotting

Also, regardless of their graphical representation of sounds can be referred to as dotted, if they have the length of one and a half standard note lengths. So you are often summarized in a fast triple time three of the stated initial values ​​to a beat, so in a 6/8-measure ( "Come, dear May, and make " ) does not include six eighths, but only two strokes. This beats groups together three eighths and can be referred to as dotted quarter.

Also rhythms, which are regularly a dotted note the next smaller unpunktierte follows ( approximately dotted eighth - sixteenth - dotted eighth - sixteenth ) may be referred to as a " dotted rhythms ".

Dotting in Baroque music

The listing was only developed over time into a real system. Even in 1752 wrote the famous flautist Johann Joachim Quantz, that "it may be the time of the short note after the Puncte determine actually not quite accurate ." Quantz also seems to be the first of which the use of Doppelpunktierung is preserved.

On the Sustained tones on the beats, followed by a short beep or run faster immediately before the next beat, were very popular in the Baroque; they are characteristic of the early part of the French overture. It was historically a to some degree imprecise notation tolerated, which today would be considered as incorrect and is usually corrected in the expenditure even by today's standards. This " correction " but is of course not unique. According to the ideas of historical performance practice, it is the responsibility of the artist to find out how the former notation and performance practice was and then to decide how this is to play. Therefore, they will try to use as copies of the original notes for comparison.

For example assumes Johann Sebastian Bach from 1722 from the French music a rhythm of a dotted eighth and thirty-second three upbeat. He quoted the first always something like this:. Later, however, are also forms like and above. It is controversial whether Bach here corrected only the beats or if he wanted different versions. One can namely be also of the opinion that the rhythm was always dotted in this context anyway. The representatives of the various styles of interpretation lead some heated debate, which is the historically correct practice.