"recoverable from the modern text. While 19th and early 20th century editions of Renaissance music often preserved the large note values of the originals, including breves and longs, most modern editions will use scaled-down note values in order to match modern reading habits regarding tempo and beat structure. For 16th century music, a frequent scheme is diminution by a factor of 2 (i.e., rendering semibreves as modern minims), in a modern ""alla breve"" bar. Older music might be diminished by a factor of 4 (rendering semibreves as crotchets) or sometimes 8 (rendering breves as crotchets). For 13th-century pieces, diminution by"
"derived from the Latin meaning 'black': The Catalan, French, Galician, and Spanish names for the note (all of them meaning 'black') derive from the fact that the was the longest note to be colored in mensural white notation, which is true as well of the modern form. The Bulgarian, Chinese, Croatian, Czech, Japanese, Korean, Polish, Russian, Serbian and Slovak names mean ""quarter"" (for the note) and ""quarter's pause"" (for the rest). Quarter note A quarter note (American) or crotchet (British) is a note played for one quarter of the duration of a whole note (or semibreve). Often, musicians will say"
"the longest. It takes 6 minutes to perform. According to American music scholar Kyle Gann, it is one of the few studies approaching the sonata form. One of the most complex early compositions, the study features striking rhythmic pattern together with melodic lines. The eight-part composition ends with racing arpeggios. It was originally presented with a longer beginning and a shorter ending. It was first performed together with the first three studies in Mexico City, on 30 July 1962 and has been arranged for a Marantz computer-piano, chamber orchestra, piano four-hands, two pianos and two disc-pianos. The Study No. 8"
"Maxima (music) A maxima, duplex longa, larga (in British usage: large), octuple note, octuple whole note, or octuple entire musical note was a musical note used commonly in thirteenth and fourteenth century music and occasionally until the end of the sixteenth century. It was usually twice or, rarely, three times as long as a longa, four or six or nine times as long as a breve, and 8, 12, 18, or 27 times as long as a semibreve (whole note). Like the stem of the longa, the stem of the maxima generally pointed downwards except occasionally when it appeared on"
"Quarter note A quarter note (American) or crotchet (British) is a note played for one quarter of the duration of a whole note (or semibreve). Often, musicians will say that a crotchet is one beat, but this is not always correct, as the beat is indicated by the time signature of the music; a quarter note may or may not be the beat. Quarter notes are notated with a filled-in oval note head and a straight, flagless stem. The stem usually points upwards if it is below the middle line of the stave or downwards if it is on or"
"4 +1 + 3), and 15 (4 + 1 + 2 + 3 + 5) crotchets, and each is followed by a ""coloured silence"" of 2, 3, 4, 6, and 9 crotchets. These colourations are made in the lower instruments (horns, violas, cellos) by overtone glissandos, in the middle register by natural-harmonic glissandos in the violins, and in the highest register by arpeggios on five triangles and a set of glass chimes . Each note of this melody is accompanied by a chord, and these chords fluctuate in density between two and five notes according to a serial distribution: 2"
"which are graphical dingbats). Eighth notes in , , , and are beamed three eighth notes at a time. A single eighth note is always stemmed with a flag, while two or more are usually beamed in groups . Eighth note An eighth note (American) or a quaver (British) is a musical note played for half the value of a quarter note (crotchet) and twice that of the sixteenth note (semiquaver), which amounts to one quarter the duration of a half note (minim), one eighth the duration of whole note (semibreve), one sixteenth the duration of a double whole note"
"Half note In music, a half note (American) or minim (British) is a note played for half the duration of a whole note (or semibreve) and twice the duration of a quarter note (or crotchet). It was given its Latin name (""minima"", meaning ""least or smallest"") because it was the shortest of the five note values used in early medieval music notation . In time signatures with 4 as the bottom number, such as or , the half note is two beats long. However, when 2 is the bottom number (including ""alla breve"", ), the half note is one beat"
"with the note length lines. Chords can be transcribed by vertically stacking the notes, with the lowest note at the bottom as with Western notation. Each note has its own octave dots, but only the lowest note has the length lines (next section). Arpeggiated chords are notated by writing the standard Western arpeggiation symbol to the left of the chord. Chord symbols such as Cm may be used if the exact voicing is unimportant. The plain number represents a quarter note (crotchet). Each underline halves the note length: One represents an eighth note (quaver), two represent a sixteenth note (semiquaver),"
"as ""group of eleven notes"", ""group of twelve notes"", and so on . The most common tuplet is the triplet (Ger. ""Triole"", Fr. ""triolet"", It. ""terzina"" or ""tripletta"", Sp. ""tresillo""). Whereas normally two quarter notes (crotchets) are the same duration as a half note (minim), three triplet quarter notes have that same duration, so the duration of a triplet quarter note is the duration of a standard quarter note. </score> Similarly, three triplet eighth notes (quavers) are equal in duration to one quarter note. If several note values appear under the triplet bracket, they are all affected the same way,"
"cumulative design of many different musical styles and forms. It is based on a 13-note 'ground' derived from the musical motif ""D, E-flat, C, B"": the German transliteration of Dmitri Shostakovich's initials (""D. Sch.""). (Shostakovich used these four notes as a musical 'signature', for example in his Eighth String Quartet). Stevenson's work takes more than an hour and a quarter to perform and may be the longest unbroken single movement composed for piano. It is extraordinary in its scope, the range of its reference to historic events, and the musical influences absorbed. The work includes a Sonata form first section,"
"notes used are: played as three crotchets (quarter note) and a minim (half note). These are always played in the order 1, 2, 3, 4, 5, and each set is used twice every hour. Set 1 is played at the first quarter, sets 2 and 3 at the half, sets 4, 5 and 1 at the third quarter, and sets 2, 3, 4 and 5 at the hour, as follows: </score> The full hour chime is followed by one strike for the number of the hour by Big Ben (E) (one strike for one o'clock, two strikes for two o'clock,"
"the earlier black notation resembles the modern quarter note (crotchet). The Greek, Chinese, Japanese, and Korean names mean ""half"", and in Greek, the modern word (""miso"" – μισό) and older (""imisi"" – ήμισι) are used. Half note In music, a half note (American) or minim (British) is a note played for half the duration of a whole note (or semibreve) and twice the duration of a quarter note (or crotchet). It was given its Latin name (""minima"", meaning ""least or smallest"") because it was the shortest of the five note values used in early medieval music notation . In time"
"be called augmentation. A melody or series of notes is ""augmented"" if the lengths of the notes are prolonged; augmentation is thus the opposite of diminution, where note values are shortened. A melody originally consisting of four quavers (eighth notes) for example, is augmented if it later appears with four crotchets (quarter notes) instead. This technique is often used in contrapuntal music, as in the ""canon by augmentation"" (""""per augmentationem""""), in which the notes in the following voice or voices are longer than those in the leading voice, usually twice the original length. The music of Johann Sebastian Bach provides"
"Major scale The major scale (or Ionian scale) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin ""octavus"", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: \override Score.TimeSignature #'stencil = ##f \relative c' { </score> The major scale had a central importance in"
"above the middle line. However, the stem direction may differentiate more than one part. The head of the note also reverses its orientation in relation to the stem. (See image.) In Unicode, the symbol is U+2669 (♩). A related value is the quarter rest (or crotchet rest). It denotes a silence of the same duration as a quarter note. It typically appears as the symbol , or occasionally, as the older symbol . The note derives from the ('half minim') of mensural notation. The word ""crotchet"" comes from Old French , meaning 'little hook', diminutive of , 'hook', because of"
"no longer in regular use today. Despite these nominal equivalences, each note had a much shorter temporal value than its modern counterpart. Between the 14th and 16th centuries, composers repeatedly introduced new note shapes for ever smaller temporal divisions of rhythm, and the older, longer notes were slowed down in proportion. The basic metrical relationship of a long to a short beat shifted from longa–breve in the 13th century, to breve–semibreve in the 14th, to semibreve–minim by the end of the 15th, and finally to minim–semiminim (i.e., half and quarter notes, or minim and crotchet) in modern notation. Thus, what"
"shortest). Most are in common time, with a few exceptions (most notably the E Dorian fugue which is in 12/8). The preludes vary from pieces based on short simplistic toccata-like passages over long sustained chords (as in, for example, the C major and G major ones) to slightly more complex works with brief imitative passages like this one, from the end of the E-flat major prelude: The fugues are all in four voices, the only exception being the A-flat major with a fifth part doubling the octave in the last chord. Some are loosely connected thematically to the accompanying preludes."
"rest may also be used in music of free rhythm, such as Anglican chant, to denote a whole measure. A whole note (American) or semibreve (British) is a musical note represented by a hollow oval note head—like a half note (or ""minim"")—and no note stem (see Figure 1). Its length is equal to four beats in time, that is the whole measure (or bar). Most other notes are fractions of the whole note. Half notes last for one half the duration of the whole note, quarter notes (or ""crotchets"") last for one quarter the duration, and a double whole note"
"duration, as at the end of a piece (e.g. at the end of Mozart's Mass KV 192). A single eighth note, or any faster note, is always stemmed with flags, while two or more are usually beamed in groups. When a stem is present, it can go either up (from the right side of the note head) or down (from the left side), except in the cases of the ""longa"" or ""maxima"" which are nearly always written with downward stems. In most cases, the stem goes down if the notehead is on the center line or above, and up otherwise."
"reveals resemblance to Chopin's ""Revolutionary étude"" in the taxing left hand figure place throughout. The piece is 67 measures long, with a duration of about three minutes, and has the fastest tempo of the set, ""Presto"" (quick) at 104 quarter notes per minute, and is the shortest work in terms of playing time. ""Presto"" is in ternary form with a coda. The piece begins with a ""fortissimo"" introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a ""rising quasi-military"" idea, interspersed between replications of the left hand figure, the mostly two-note melody being"
"Staccato Staccato (; Italian for ""detached"") is a form of musical articulation. In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence. It has been described by theorists and has appeared in music since at least 1676. In 20th-century music, a dot placed above or below a note indicates that it should be played staccato, and a wedge is used for the more emphatic staccatissimo. However, before 1850, dots, dashes, and wedges were all likely to have the same meaning, even though some theorists from as early as the 1750s distinguished"
"A minor scale are represented in the fourth variation. The variations become increasingly close together as Pärt decreases the length of the G.P. after each variation by one beat. In variation eight, Pärt does not leave any silence, and instead writes a cadenza for all of the instruments. In the cadenza, the solo violins and prepared piano play ""ff"" arppegiated chords, while the string orchestra sections play a three-octave descending scale, beginning on “E.” The cadenza lasts 22 measures, until the piano plays the first accidental of the movement, F-sharp, signaling the beginning of the final section, ""meno mosso."" The"
"most moving"". Variation VII is half the length of the preceding variations, as it omits the repeat of each eight-measure phrase. This variation concludes with an extra three-measure passage that culminates in a dominant chord, announcing the arrival of a cadenza. After the cadenza, the soloist opens the eighth and final variation alone, with the orchestra joining after 19 measures. The arrival of the final variation also brings a change in metre: from cut common time to compound duple time. Both the final variation and the coda which follows contain numerous neapolitan-sixth chords. Girdlestone referred to the ""haunting"" effect of"
"with multiple phrases in a single hand. The second piece, referred to as a ""glittering showpiece"", is positioned in contrast to the lyrical and ""atmospheric"" melody of the first piece. The piece is in the quick tempo ""allegretto"" (quickly), at 92 quarter notes per minute. It is 131 measures long, the most of all six pieces, but the second shortest in terms of playing time, usually no longer than three and a half minutes (the shortest is number four). This piece represents a typical nineteenth-century étude, similar in style to Frédéric Chopin's Études (Opp. 10, 25), with a melody interspersed"
"Tie (music) In music notation, a tie is a curved line connecting the heads of two notes of the same pitch, indicating that they are to be played as a single note with a duration equal to the sum of the individual notes' values. A tie is similar in appearance to a slur, however slurs join notes of different pitches which need to be played independently, but seamlessly. The tie shown at right connects a quarter note (crotchet) to a sixteenth note (semiquaver), creating a note as long as a quarter note, or five times as long as a sixteenth"
"in short—as the Italians say—it did not create a furor."" Beethoven was angered at this reception. George Bernard Shaw, in his capacity as a music critic, agreed with Beethoven's assessment of the work, writing that indeed, ""In all subtler respects the Eighth is better [than the Seventh]"". But other critics have been divided in their judgement. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets in B, 2 bassoons, 2 horns in F (in B basso for the second movement), 2 trumpets in F, timpani, and strings. It is approximately 26 minutes in duration. This movement is in"
"time of the overture is about 3½ minutes. The second movement, in 3/4 time in F major, is marked Tempo di minuetto Allegro moderato, with a metronome mark of crotchet = 108. There are no dynamic extremes in the movement: the quietest marking is piano and the loudest, forte. Nectoux comments that the movement verges on pastiche, and remarks that its most characterful phrase is taken note for note from Fauré's 1910 Preludes for Piano, Op. 103. The menuet has a typical playing time of little under 3 minutes. The third movement is in D minor. It is marked Allegro"
"“the ""staccati"" must be very short, like a tapping. There must be something eerie about the whole. At the second tempo marking (""significantly slower""), a really high-spirited Upper Austrian peasant dance strikes up: here the crotchets marked with an arrow-head should be rather short and playfully marked, each note given a slight accent. In the Trio, too, especially in the ""piano"" section, the accents must be brief, light, and effervescent. The arrow-heads indicate actual ""staccati"" here: the quavers (eighth notes) on flutes and first violins before Letter A must be very light, dainty, and short. On the other hand, in"
"sequences of chords, and large jumps. The first known performance was by Ferruccio Busoni in Berlin in 1908. A typical performance lasts 9 minutes. The second étude, Introduction, Variations et Finale, in D major, is for the right hand only. The longest and most difficult of the three, it features rapid cadenza-like flourishes along with many of the same technical challenges found in the first étude. The first public performance is not known. A typical performance lasts 15–25 minutes. The third and final étude, Mouvement semblable et perpetuel, in C minor, for both hands together, is quite different from the"
"the viola and celli have eighth note pizzicato. The second violin, on the other hand, has quick sixteenth note slurs which contain many string crossings. As Elisabeth Le Guin puts it in ""Boccherini’s Body: An Essay in Carnal Musicology"", “The second violinist has no time for ""galanterie""; he must concentrate on keeping the constant string crossings reasonable even through the length of the bow”. The arrangements of this quintet, especially of the minuet, are extremely numerous. The entire piece was arranged for a double viola quintet in the 18th century. A 19th century transcription of the minuet for the organ"
"out the fragments, Stockhausen doubled the note values from the ones in the matrix , so that, in the score, fragments 1–4, 5–7, 8–10, 11–13, 14–16, and 17–19 have overall durations of 3, 6, 10, 15, 21, and 28 quarter notes, respectively. Within each of these groups there is a ""main text"" of melody or chords. Interspersed into these are groups of grace-note chords and clusters, as well as tremolos, trills, and harmonics, and these two levels are constructed independently . One of the earliest analysts of this piece, Konrad , observed the distinct sets of group durations but, apparently"
"Longa (music) A longa (pl. ""longe"" or ""longae""), long, quadruple note (Am.), or quadruple whole note is a musical note that could be either twice or three times as long as a breve (Am.: double whole note, or double note), four or six times as long as a semibreve (Am.: whole note), that appears in early music. The number of breves in a long was determined by the ""modus"" or ""mode"" of a passage. Sections in perfect mode used three breves to the long while sections in imperfect mode used two breves to the long. Imperfect longs, worth two breves,"