Dotted rhythm |

from lat. punctum – dot

Alternation of an elongated strong and a shortened weak beat. Forms P. r. varied. The lengthening of strong time is indicated by adding a dot to the main. duration (note), which increases its length by half, or two points, which increase the strong share by three quarters of its main. duration. In this case, the accent falling on the strong beat becomes sharper. Occasionally, P. is also used. with 3 dots. Sometimes a dot is replaced by a pause equal in length to it; P.’s character r. this is not lost. There is P. p., in which weak time is divided into several shorter notes. R. used in music genres, premier solemn, dance, and other mobile character.

Until ser. 18th century in the musical notation, only a single punctuation was recorded, but the punctured figures were performed freely – in accordance with the nature of the muses. the play expressed in it by the affect (see. Affect theory).

L. Beethoven. Sonata for piano No 5, 1st part.

J. Haydn. 2nd “London” symphony, introduction.

F. Chopin. Polonaise for fp. op. 40 no 1.

Often, especially in slow-tempo pieces, punctuated figures, contrary to their musical notation, were sharpened, and a pause not indicated in the notes could be inserted between a long and short note; figure turned into or and others. On the conditionality of recording in the past the figures of P. r. testify to numerous cases when their actually matching short sounds were recorded in diff. voices standing one above the other notes of different durations. But even in cases where such notes were recorded not one under the other, according to the testimony of the most prominent musicians of the past, they were provided for at the same time. performance (with a shortening of a more extended short sound). For example, according to D. G. Türk, the phrase should have been performed like this:

In fast polyphonic in plays, punctuation, on the contrary, was often softened, so that the figure actually turned into . In early music, there are cases when the last sound of a triplet in one voice coincides with the last sound of a punctuated figure in another.

F. Chopin. Prelude for fp. op. 28 No 9.

In subsequent times, in particular in the era of romanticism, “fitting” to each other at the same time. sounding dotted figures has lost its former meaning; the actual discrepancy between such figures is often an important expression. effect provided by the composer. See also Rhythm.

References: Turk DG, piano school, Lpz.-Halle, 1789, 1802, переизд. E. Р Якоби, в кн.: Documenta musicologica, vol. 1, TI 23, Kassel (ua), 1962; Ваbitz S., A problem of rhythm in Baroque music, «MQ», 1952, vol. 38, No. 4; Harisch-Schneider E., About the adjustment of looking up semiquavers to triplets, «Mf», 1959, vol. 12, H. 1; Jaсkоbi EE, News on the question «Dotted rhythms against triplets…», в кн.: Bach yearbook, vol. 49, 1962; Neumann Fr., La note pointé et la soi-disant «Maniere française», «RM», 1965, vol. 51; Collins M., The performance of triplets in the 17th and 18th century, “JAMS”, 1966, v. 19

V. A. Vakhromeev