A twelve-sixteen measure of silence is much easier to write, since it can be done by a single whole note rest, which is also commonly used as a measure-rest, irrespective of the value of the measure. (Hence the German name takt-pause.} The six-eight measure of silence (see c, Fig. 8) might also, of course, have been written in the above way, or by quarter, eighth, quarter, eighth rests in place of the dotted rests.
Placing of notes14.—The characters which will correctly represent the given rhythm having been determined, the second point is the correct placing of them in the measure. Mentally, at least, the measure should be divided into as many equal portions as there are beats in it. One well-known composer, it is said, rules beat-lines in light pencil, as well as bar-lines, in his full scores. In very elaborate music this symmetrical arrangement cannot be fully carried out; sixty-four sixty-fourth notes cannot be written in the same space as one whole note; and a whole note would look lost in the space required for the sixty-fourth notes. But simple music can be made quite symmetrical, and in all music such beat-lines, actual or mental, are an invaluable check and guide.
Each note should be placed in the left-hand end of its space. This is for the simple reason that music, like words, is read from left to right and, roughly, space represents duration. Any
