thirds instead of two halves, by representing a beat-and-a-third and two thirds of a beat (see a, Fig. 8). A beat-and-a-third, if required, should be represented by a note of the value of a beat tied to one of the value of a third, never by a single note equalling both a half note in this case (see b, Fig. 8). A similar principle applies to rests. A measure's silence should be represented by rests divisible into beats, not by rests which fuse a beat and part of the next (see c, Fig. 8). Two dotted quarter notes in twelve-sixteen time are not so bad as a dotted half note in six-eight time, as they correctly represent the division of the measure into two halves, but they misrepresent these halves as consisting of three sixths of a measure whereas they rhythmically consist of two quarters (see d, Fig. 8).
| Not good. |  |
| Good. |  |
| Not good. |  |
| Good. |  |
Fig. 8. | |
