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12

Ordinary quarter rest in a somewhat uncommon but not unheard-of style. French publisher?


3

As there are 4 beats in the bar, it has to be a crotchet (quarter note ) rest. It's probably easier to draw than the regular one, but there is an alternative which is the opposite way round to the quaver rest, again, easier to write.


3

It seems that culture may come in here. In some countries, the solfege system is thought of as quite important. In France, for example, it's a fixed doh at C, and all the notes are named from this. So there, it would be useful. In England, there's not so much emphasis, so learning dots makes more sense. No doubt, other countries will have their own views, ...


3

If you look at standard SATB arrangements of hymns, you will notice that the bass often moves in contrary motion to the melody, and often in rhythmic intervals in the middle of phrases when no one else is moving. This really makes the bass part pop in a way that does not distract from the song itself. Also pick up and study some of Bach's chorales, and you ...


3

Use a well spaced writing technique. Especially between Bass and Tenor. Remember that in a modern SATB choir, Soprano and Tenor are the brighter voices and Alto and Bass the darker. So you have not a timbral continuum from Bass to Soprano. This is very important when you want to write a transparent texture.


2

Write higher. People commonly write the tenor part too low, which then forces the bass even lower, into a quieter part of their range (it doesn't help that usually most of the members of the bass section are not true basses, but rather baritones without good control of their upper range).



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