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Dotted note
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Dotted note
In Western musical notation, a dotted note is a note with a small dot written after it. In modern practice, the dot increases the duration of the original note by half of its value. This makes a dotted note equivalent to the original note tied to a note of half the value – for example, a dotted half note is equivalent to a half note tied to a quarter note. Subsequent dots add progressively halved value, as shown in the example to the right.
The use of dotted notes dates back at least to the 10th century, but the exact amount of lengthening a dot provides in early music contexts may vary. Mensural notation uses a dot of division to clarify ambiguities about its context-dependent interpretation of rhythmic values, sometimes alongside the dot of augmentation as described above. In the gregorian chant editions of Solesmes, a dot is typically interpreted as a doubling of length (see also Neume).
Historical examples of music performance practices using unequal rhythms include notes inégales and swing. The precise performance of dotted rhythms can be a complex issue. Even in notation that employs dots, their performed values may be longer or shorter than the dot mathematically indicates, practices known as over-dotting or under-dotting.
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.
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.
Any note value can be dotted, as can rests 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. Dotted rests are conventional in compound meters but can sometimes be used in simple meters as well.
In Baroque music, dotted notation was sometimes used to indicate triplet rhythms when the context makes it obvious.
Dots have been used across barlines, such as in H. C. Robbins Landon's edition of Joseph Haydn's Symphony No. 70 in D major, but this usage is obsolete—a tie across the barline is used instead.
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Dotted note
In Western musical notation, a dotted note is a note with a small dot written after it. In modern practice, the dot increases the duration of the original note by half of its value. This makes a dotted note equivalent to the original note tied to a note of half the value – for example, a dotted half note is equivalent to a half note tied to a quarter note. Subsequent dots add progressively halved value, as shown in the example to the right.
The use of dotted notes dates back at least to the 10th century, but the exact amount of lengthening a dot provides in early music contexts may vary. Mensural notation uses a dot of division to clarify ambiguities about its context-dependent interpretation of rhythmic values, sometimes alongside the dot of augmentation as described above. In the gregorian chant editions of Solesmes, a dot is typically interpreted as a doubling of length (see also Neume).
Historical examples of music performance practices using unequal rhythms include notes inégales and swing. The precise performance of dotted rhythms can be a complex issue. Even in notation that employs dots, their performed values may be longer or shorter than the dot mathematically indicates, practices known as over-dotting or under-dotting.
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.
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.
Any note value can be dotted, as can rests 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. Dotted rests are conventional in compound meters but can sometimes be used in simple meters as well.
In Baroque music, dotted notation was sometimes used to indicate triplet rhythms when the context makes it obvious.
Dots have been used across barlines, such as in H. C. Robbins Landon's edition of Joseph Haydn's Symphony No. 70 in D major, but this usage is obsolete—a tie across the barline is used instead.
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