Rest (music)

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Rests on stave 02 Longa.svg
Rests on stave 04 Semibreve.svg
Rests on stave 06 Crotchet.svg
Rests on stave 08 Semiquaver.svg

A rest is the absence of a sound for a defined period of time in music, or one of the musical notation signs used to indicate that.

Contents

The length of a rest corresponds with that of a particular note value, thus indicating how long the silence should last. Each type of rest is named for the note value it corresponds with (e.g. quarter note and quarter rest, or quaver and quaver rest), and each of them has a distinctive sign.

Description

Rests are intervals of silence in pieces of music, marked by symbols indicating the length of the silence. Each rest symbol and name corresponds with a particular note value, indicating how long the silence should last, generally as a multiplier of a measure or whole note.

Music rests.svg

American EnglishBritish EnglishMultiplierSymbol
Longa Long rest4 Rests on stave 02 Longa.svg
Double whole rest Breve rest2 Rests on stave 03 Breve.svg
Whole rest Semibreve rest1 Rests on stave 04 Semibreve.svg
Half rest Minim rest12 Rests on stave 05 Minim.svg
Quarter rest Crotchet rest14 Crochet2.svg
Eighth rest Quaver rest18 Rests on stave 07 Quaver.svg
Sixteenth rest Semiquaver rest116 Rests on stave 08 Semiquaver.svg
Thirty-second rest Demisemiquaver rest132 Rests on stave 09 Demisemiquaver.svg
Sixty-fourth rest Hemidemisemiquaver rest164 Rests on stave 10 Hemidemisemiquaver.svg

One-bar rest

Rest (music)
Rest on weak interior cadence from Lassus's Qui vult venire post me, mm. 3–5

When an entire bar is devoid of notes, a whole (semibreve) rest is used, regardless of the actual time signature. [4] Historically exceptions were made for a 4
2
time signature (four half notes per bar), when a double whole (breve) rest was typically used for a bar's rest, and for time signatures shorter than 3
16
, when a rest of the actual measure length would be used. [5] Some published (usually earlier) music places the numeral "1" above the rest to confirm the extent of the rest.

Occasionally in manuscripts and facsimiles of them, bars of rest are sometimes left completely empty and unmarked, possibly even without the staves. [6]

Multiple measure rests

Fifteen bars' rest 15 bars multirest.png
Fifteen bars' rest
The old system for notating multirests, still in use today but followed only to varying extents Old multirests.svg
The old system for notating multirests, still in use today but followed only to varying extents
Multirests H-bars.png
Multirests narrow H-bars.png
Multirests Blank.png
Multirests Old style.png
Seven measure multirest, notated variously

In instrumental parts, rests of more than one bar in the same meter and key may be indicated with a multimeasure rest (British English: multiple bar rest), showing the number of bars of rest, as shown. A multimeasure rest is usually drawn in one of two ways:

The number of bars for which a horizontal line multimeasure rest lasts is indicated by a number printed above the musical staff (usually at the same size as the numerals in a time signature). If a change of meter or key occurs during a multimeasure rest, that rest must be divided into shorter sections for clarity, with the changes of key and/or meter indicated between the rests. Multimeasure rests must also be divided at double barlines, which demarcate musical phrases or sections, and at rehearsal letters.

Dotted rest

YB0110 Silences pointes.png

A rest may also have a dot after it, increasing its duration by half, but this is less commonly used than with notes, except occasionally in modern music notated in compound meters such as 6
8
or 12
8
. In these meters the long-standing convention has been to indicate one beat of rest as a quarter rest followed by an eighth rest (equivalent to three eighths). See: Anacrusis.

General pause

In a score for an ensemble piece, "G.P." (general pause) indicates silence for one bar or more for the entire ensemble. [7] Specifically marking general pauses each time they occur (rather than writing them as ordinary rests) is relevant for performers, as making any kind of noise should be avoided there—for instance, page turns in sheet music are not made during general pauses, as the sound of turning the page becomes noticeable when no one is playing. [8]

In Futurum

Page from the score of Erwin Schulhoff's "In Futurum
" (one of his "Funf Pittoresken
") incudes smiley faces Erwin Schulhoff - In Futurum - rests (original).jpg
Page from the score of Erwin Schulhoff's "In Futurum" (one of his "Fünf Pittoresken") incudes smiley faces

Erwin Schulhoff's "In Futurum" (the middle movement of his "Fünf Pittoresken", published in 1919) comprises nothing but annotated rests; and results in a silent performance. [9] [10]

See also

References

  1. 1 2 3 History of Music Notation (1937) by C. Gorden, p. 93.[ full citation needed ]
  2. Examples of the older form are found in the work of English music publishers up to the 20th century, e.g., W. A. Mozart Requiem Mass, vocal score ed. W. T. Best, pub. London: Novello & Co. Ltd. 1879.
  3. Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London 1958. I, 33 and III, 25. The former shows both forms without distinction, the latter the "old" form only. The book was the standard theory manual in the UK up until at least 1975. The "old" form was taught as a manuscript variant of the printed form.
  4. 1 2 AB guide to music theory by E. Taylor, chapter 13/1, ISBN   978-1-85472-446-5
  5. 1 2 Music Notation: A Manual of Modern Practice, second edition, by Gardner Read (Boston: Allyn and Bacon, 1969): 98. (Reprinted, New York: Taplinger Publishing Company, 1979).
  6. "Aesthetic Functions of Silence and Rests in Music", by Zofia Lissa, The Journal of Aesthetics and Art Criticism 22 (1964), no. 4: 443–54 doi : 10.2307/427936.
  7. Elaine Gould, Behind Bars: The Definitive Guide to Music Notation , p. 190. Faber Music (publisher), 2011.
  8. Elaine Gould, Behind Bars: The Definitive Guide to Music Notation , p. 561. Faber Music (publisher), 2011.
  9. "In Futurum" sheet music
  10. Carey, Leo (16 May 2004). "Sh-h-h". The New Yorker. Retrieved 29 August 2025. There are fermatas, exclamation points, question marks, and, in the middle and at the end, enigmatic signs that look like a hybrid of a half note and a smiley face