thirty-second

aernisemiquaveor r pausa piro dell a biscroma sixty-fourth or dem i-quart de sou- Zweiunddrei ig emidemisemi pausa dell a semipjr theilpause quaver rest - biscroma seizieme de soupir Vieru ndsechszigstheilpause 455 436 rest retentir Various signs are used for represent answer followed each other so rapidly ing a rest continuing through a me as and closely that they overlap. Synoure. If a measure contains the same nym of stretto. or le time than a whole note the resultant tones rest is represented by the whole rest. The tones that result when two Sometimes the whole rest is used loud and sustained musical tones are regardle of the time value of the sounded simultaneously. There are measure, but usually in music contwo kinds of resultant tones called taining more than a whole note ■ ■ the differential and the summational. to a measure the breve rest is — The differential tone is so named be used for a one-measure rest. cause the number of its vibrations is m m ■-■" rest. indicates a three - measure equal to the difference between the number of vibrations of the two ■ indicates a four-measure tones sounded together. Summar est. tional tones are equal to the sum of. ~ indicates a six-measure rest. vibrations of the two tones. '" Thus any number of measure resurrexit (rez-u-reks'-it) Lat. v. rests may be denoted by various Literally, and rose again: a phrase combinations of the whole and breve from the Credo, the creed of the Rorest, but now a numeral is generally man Catholic ma . In the music of used to indicate the number of me as the ma these form the introducures rested, especially if they exceed tory words of the allegro or faster six. movement, which is strongly marked 4 7 9 20 following the slower time of the Crucifix us. It is commonly written -+— H &— -42-^ for solo voices and sometimes for ba voices only, Rests are occasionally lengthened by retard dots, e. g., *•»• instead of being To slacken the speed gradually. written in full ' L*J1 ■*-"> A retard almost invariably follows a