fore, has to be shown by their position on, or off, the stave (see Fig. 14).
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It will be seen that the lower eighth note rest in the first example belongs to the same part as the following sixteenth note rest, though by no means on a line with it.
19.—In modern piano music which is not of a strictly part-writing character, rests often represent the absence, not of a part or voice, but of the hand. If the notes, though representing as many parts as the piece can be supposed to possess, are all to be played by one hand, rests are employed to represent the absence of the other.
And in music which is of a part-writing character, though the parts are incomplete, rests are often not employed if both hands are engaged (see Fig. 3, c, bass clef, supposing it to be of more than two parts).
Bach rarely, if ever, employed rests to represent the hand; with him they always represent a voice. Thus in a melodic or one-part passage divided between the hands, each playing alter-
