Without being dogmatic about it, I could probably live with that. I think I could also tolerate what Ander’s composer requested with the beaming, but it feels cumbersome.John Ruggero wrote: ↑20 Mar 2023, 21:39 I am guessing that you would accept what the composer requested from Anders IF there were another rest that followed, but not otherwise. Is that correct? I must admit that what the composer requested does not bother me as much as it would in 6/8 or 3/4 meter, for some reason. Maybe because of the less common meter and extended beams.
However, let’s be honest. The time signature 12/16 itself is cumbersome. We are dealing with a lot of visual noise with all those flags, which leaves us trying to decide what is the least offensive. If I were the composer or arranger, I’d be looking for ways to avoid writing a 16th followed by two 16th rests. Perhaps something with a staccato dot. In all honesty, I’d really be looking for a way to completely avoid that time signature, but perhaps that’s not possible in context.
I must admit that I do break the combination rule in certain situations with 16ths, again with an eye towards making the beat groupings clear, because of all the visual complexity. One example is a 16th followed by a dotted 8th in 4/4, 3/4, etc. This is fairly common (perhaps to the point of being idiomatic) and is easier to read than other options in most cases because it makes the beat groupings clear. (I’m not at my computer, otherwise I would give an example.)
EDIT: I must add that I have strong dislike for the dotted quarter at the end of the bar from Ander’s example. Because it appears we are dealing with 3-note groupings, I want to see two dotted 8ths there. It may make the first part of the bar easier to read because it reinforces the underlying pulse of the bar. However, I’m also giving an opinion without context, so take that as you will!