![]() Note the rest is somewhat gamma-shaped, exactly backwards from the eighth-note rests on either side of it. Look at the first bar of the basso continuo part (second staff). Based on a review of several manuscripts I found with Google image searches, I believe this form gradually evolved into the familiar squiggly line.įirst, at the top of this page is an image of a Corelli manuscript that shows the semiminima style of rest. You can see this shape used in early Baroque manuscripts, and it originates in mensural notation. I'm not sure exactly when or how the squiggly-line shape came about, but I do know there is an alternate notation that looks like a backwards eighth-note rest (called a "semiminima rest", as guidot mentions). This Liszt-piece, printed by Diabelli 1838 shows not only another form (mirrored z-like), but by showing a combination of the older mirrored 8th rest and a second one rotated by 180 degrees, also suggests this as possible generation path of the "squigly" symbol. In this Vivaldi autograph facsimile (Concerto RV 107, Fuzeau Editions 5682) two quarter rests occur, which nicely shows an intermediate form and ilustrates, that the staff position was varied: The first line shows the symbol mentioned by Caleb. I found an example in the lilypond documentation here, mirrored below in the middle staff. ![]() This looks like an uppercase-L turned 90 degrees in clockwise direction hovering between the second and the middle line of a staff counted from the top, so I assume the squigly line was probably the distortion of that symbol caused by handwriting. According to Honegger-Massenkeil, Das Große Lexikon der Musik, published in Freiburg 1982, the symbol derived from the semiminima rest.
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