chronize, as in the following excerpt from Sterndale Bennett's piano study "The Lake."
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Elsewhere throughout the same study the composer has placed dots immediately after the note they prolong. Here, therefore, he seems to have anticipated the objection that he was dotting un-accented notes (see "Notation of Rhythm," Par. 9), and to refute it by showing that there are in reality two series of accents in each measure, at cross purposes with each other, that, indeed, the alto, and tenor measures are an eighth note behind the treble, though they could not be written with separate bar-lines. This is clear when the whole passage is seen. Observe that the dot to the last note of a measure is placed at the beginning of the next, to make the overlapping clear to the eye. (Also that the dots to the last alto and tenor quarter notes are placed not in the space next, but in the space next-but-one higher than the note they prolong.) Dots are not infrequently placed thus that is, in or near the part of the measure with which they synchronize—apart from any such purpose as that just explained.
The dot made its first appearance in music
