Quaver is so small he can barely keep his eyes open.
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My hands began to shake uncontrollably, my voice began to quaver.
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Vocal cords grow brittle; high notes start to quaver; low tones hollow out.
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HOOKSETT, N.H. — Ted Cruz stood in a church here, speaking in a controlled quaver.
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But then there are traces of very early Ellie Goulding in her quaver too.
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His breathing was slower and more intense, his voice more powerful yet edged with a quaver.
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Stafford sang it with a crooner's quaver, and LeDoux intoned the lyrics wistfully, accompanied by a harmonica.
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Only when he began a sentence by saying "as we prepare for government" did his voice quaver slightly.
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CARAMANICA There's a deep, primal quaver in Baby Rose's voice that makes it arresting from its first note.
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The pigment of these two planes, especially the orange, quaver with increasing frequency the longer you look at them.
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"Passionfruit" simmers over a streamlined chillwave groove as Drake sighs a melody whose loveliness extends to his own vocal quaver.
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Google won't quaver on the decision to move away from desserts, which answers a quadrillion querulous questions about the names.
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His voice sounds tattered and nervous, with a grainy quaver, as if he's looking over his shoulder half the time.
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Tip's harsh quaver and Phife's comic stride dominate the conversation, but the album as a whole teaches a lesson about solidarity.
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The same liberals who quaver at "Cold War rhetoric" are now piling on Donald Trump for advocating realism, reasonableness and accommodation.
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Louise's hands and voice quaver, but her eyes shine and widen as the pleasure of the new — and knowing — edges out fear.
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There's a slight quaver to it, a tendency to sound like he's making an appeal, even when he's offering bold, declarative statements.
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He's a tender, earthy singer, and on tracks like "Shine" and the quasi-gospel "Jeremiah/World Needs More Love," his quaver is affecting.
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The split-second, the hemi-demi-semi-quaver beat of difference between the landed jab and the slipped jab, between disaster and opportunity.
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At one point during his statement, Mr. Ho's voice began to quaver, and Judge Preska had her clerk take him a box of tissues.
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Look at it, and almost immediately the entire surface starts to quaver, as if heat waves were rippling off a bonfire on the floor.
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As she speaks about the night she found out her son had been shot, her eyes blur with tears and her voice begins to quaver.
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Her voice began to quaver as she acknowledged that she had been alone at home not just on her birthday, but for days and days.
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"It's the quaver that makes the Ethiopian singer Mahmoud Ahmed's voice so arresting," the New York Times critic Jon Pareles wrote in a 2014 review.
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" It "seems to arrive from a distance," he wrote, "high and serene, with a hint of reediness and a humble quaver, proffering melodies like lullabies.
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On the website PayPal, donors can decide whether to give Ms Rose a quaver (£193 per month, or $5), a crotchet (£8), or a minim (£16).
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The four penguin chicks, which were born around the Easter weekend, have been named Quaver, Wotsit, Cheeto and Frazzle — after the favourite crisp flavours of their keepers.
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Its tune circles through a few notes, the lead vocal hints at Michael Jackson's tenor quaver, and there's a hip-hop undertow of sustained strings and a sparse backbeat.
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It's the jangley guitars, the effects on Brad Oberhofer's voice, the delightful quiver-quaver of his delivery, and the sprightly bounce of this melody—they all smack of days gone by.
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The famous "Phantom of the Opera" theme, with the organ's quaver accompanied by funereal electric bass and foreboding percussion, is pure prog rock, almost to the point of "Spinal Tap"-style parody.
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While the originals usually mask this impulse behind pop formalism, Hatfield's shambolic approach accentuates it, as Newton-John's chirpiness finds a natural corollary in the bleeding guitar fuzz and Hatfield's vocal quaver.
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Guha is cheerful and poised with a birdlike quaver in his voice, not at all how I expected a man who has waited 37 years for his work to be introduced to the world.
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Guha is cheerful and poised with a birdlike quaver in his voice, not at all how I expected a man who has waited 20023 years for his work to be introduced to the world.
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The nearly unornamented way she carries melodies, shading some words with the tiniest bit of a quaver, comes across as both pensive and determined, and it lets her find mythic resonances behind everyday details.
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And tonight, ladies and gentleman, the creased face carnivore himself, Mr Gordon Ramsay, will be serving up a hard square of lawn trimmings, a single Quaver, a spot of pistachio-flavoured toothpaste, and some figs.
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But it was not until the temperatures suffered a two-week quaver, the cold lasting barely long enough for the Ice Palace team to put the blocks in place, that things took a truly glum turn.
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The quaver she applies to the chorus in "Tell Me" hints at Morrissey, and "Ain't Nobody" — with her voice backed only by finger snaps — finds common cause among exploited workers from mines to prisons to factories to plantations.
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A later scene in which Oleg finally got the imprisoned Dmitri to give up a name — with a melodramatic quaver uncharacteristic of the series — seemed to indicate that it is, indeed, the grocery investigation that's causing Oleg's problems.
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Goffman is short, with big, round chestnut eyes, dirty-blond hair that she rarely knows what to do with, a slightly reedy quaver in her voice and a performatively childlike manner that softens a relentlessly inquisitive and analytic intelligence.
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And he has a voice full of eccentric intensity: a baritone croon that he often sustains with a raw, stubborn quaver, and a falsetto that he used, in one song, for a tune he declared was given to him by angels.
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On "Black Tongue" Karen delivers her hellion quaver "We're high in the back room / Gonna have a pack soon / With this you will regret / Just let it be," which encapsulates the reckless antics of the era; timeless antics at that.
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His voice — high, piercing, and congested — was made to babble and chatter and run off at the mouth, to cram bunches of rhymes into frantic run-on sentences, to quaver with anxiety and jitter while adjusting the tempo, to cry out in pain.
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It can be easy, reading an article, to think of the names in them as abstractions; it's much harder to deny an individual's humanity when she's looking directly at you through the camera with tears in her eyes and a quaver in her voice.
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Touring Europe, singing the standards in her signature quaver, Garland had at this point (momentarily) quelled her addiction to alcohol and drugs, surviving a severe bout of hepatitis, confounding doctors who warned her that not only would she never sing again, but that her days were numbered.
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On "Starfire" it turns out that, unlike some other songwriters for hire, she has a striking voice of her own: lean and taut, with an insistent quaver and a hint of a sob, with glimmers of both the girl-next-door naturalism of Sheryl Crow and the wayward attack of Sia.
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Word of the Day verb: give off unsteady sounds, alternating in amplitude or frequency verb: sing or play with trills, alternating with the half note above or below noun: a tremulous sound noun: a musical note having the time value of an eighth of a whole note _________ The word quaver has appeared in 24 articles on NYTimes.
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The Chinese voyaged there, too, migrating in the 19th century, although it took longer for their culinary notions to enter the culture; only in the past few decades did chamoy — the food historian Rachel Laudan has noted the name's etymological kinship to "see mui" — become common, first in the form of dried and salted fruit (saladito), and then as a ubiquitous condiment, salty-sour-sweet with a quaver of heat, wielded by street vendors and high-end chefs alike.
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There are then trills for one bar and another quaver, quaver rest, quaver, quaver rest pattern with a straight crotchet accompaniment for 4 bars. There are then 20 bars of more trills. A section with melody and accompaniment then follows. The above section then repeats.
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In a study by National Artist for Music Dr. Antonio Molina, the Balitao, famous in Tagalog and Visayan regions, employs a 3/4 time signature with a "crotchet-quaver-quaver-crotchet" beat. Others use the "crotchet-minim" scheme, while others use the "dotted quaver- semiquaver-crotchet-quaver-quaver" scheme. This type of music is generally recreational and, like traditional music from the West, is used for socialising.
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There are then trills for the piano for a further 8 bars. A quaver, quaver rest, quaver, quaver rest pattern follows with straight crotchets for 8 bars. A melody then comes in above the base rhythm for 24 bars. The piano then has a large section of chords and (mainly) quavers for 33 bars.
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This lasts for four bars. A sustained pedal then accompanies the manuals, which have a dotted quaver, semi-quaver rhythm. This then turns into a repeated G♯, B demi-semi-quaver rhythm. This then slows to a series of repeated cadences.
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The movement, described by Girdlestone as the concerto's strongest movement, is in a broadly rondo form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece: quaver-quaver-crotchet, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch.
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The prelude commences with a semi-quaver scale from the pedals, and then the manuals begin with an intricate quaver pattern between the hands. Another run from the pedals is then followed by a continuation of the quaver pattern from the right-hand. The quaver pattern then repeats one octave lower. The pedals then play arpeggiated patterns which begin a repeated theme and slow down throughout.
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The halftone quaver image on the cover was designed by artist Rob O'Connor.
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At the opposite, an eighth note (or quaver) is twice as short as a quarter note.
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But the aged Chetonquin muttered to herself in a tuneless quaver, and shook her head doubtingly.
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The second section, labelled doppio movimento (double speed), resembles a scherzo with dotted quaver-semi quaver melody, semiquavers in a lower voice in the right hand, and large jumps in the bass. The final section is a shortened version of the first (14 bars rather than 24) with characteristic cadenzas and elaboration, finishing with an arpeggio on F major, falling at first, then dying away. Second theme from No. 2 in F major.
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Kennedy has spasmodic dysphonia, which causes his voice to quaver and makes speech difficult. It is a form of an involuntary movement disorder called dystonia that affects only the larynx.
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Example 3. An excerpt from Danse de la fureur, pour les sept trompettes from the Quatuor pour la fin du temps. It illustrates Messiaen's use of additive rhythms—in this example the addition of unpaired semiquavers (sixteenth notes) to an underlying quaver (eighth note) pulse and the lengthening of the final quaver by addition of a dot. It illustrates the use of what Messiaen called the Boris M-shaped motif (the last five notes of the excerpt).
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On his solo albums, when he played or programmed a synthesizer part to replicate a real instrument (bass, vibraphone, horns) he credited one of his aliases: Illinois Elohainu, Phonus Quaver, or Harlan Post.
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A quaver, a dotted quaver, and a semiquaver, all joined with a primary beam (the semiquaver has a secondary beam) In musical notation, a beam is a horizontal or diagonal line used to connect multiple consecutive notes (and occasionally rests) to indicate rhythmic grouping. Only eighth notes (quavers) or shorter can be beamed. The number of beams is equal to the number of flags that would be present on an unbeamed note. Beaming refers to the conventions and use of beams.
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An alto and tenor duet, "" (How happy are they, who bear God in their mouths) is accompanied by continuo and obbligato violin with oboe da caccia. The movement is "submissive" in character with a texture that becomes more complex as the duet progresses, at one point including five simultaneous melodic lines. Bach uses a juxtaposition of "flowing, largely semi-quaver" instrumental parts with the vocal "crotchet/quaver rhythms" to depict the shield of the faithful; the two parts then coalesce to tell of the smiting of enemies.
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Scottish fiddling may be distinguished from other folk fiddling styles by its particular precision of execution and energy in the delivery, for example, the rendering of the dotted-quaver/semi-quaver rhythmic patterns, commonly used in the Strathspey. Christine Martin, in her Traditional Scottish Fiddling players guide, discusses the techniques of "hack bowing", "the Scottish Snap", and "snap bowing". These techniques contrast quite sharply with the most common bowing patterns of Irish fiddling. The style has a very large repertoire consisting of a great variation of rhythms and key signatures.
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The bass line incorporates the semiquaver scales. ;550px The beginning of the bass part provides a motif for the continuo accompaniment, which is imitated in counterpoint by the two alto recorders until the end of the section, producing a running line of semiquavers. The accompanying oboes and upper strings respond to each other with fragmented quaver motifs derived from the vocal material of this section as well as the quaver motifs in the first section. has pointed out that the musical device of silencing parts of an ensemble is frequently used by Bach as a form of musical iconography.
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The opening bars of No. 2 in F major. Composed in 1832, it is a technically challenging piece in A-B-A form, in 2/4. The first section, Larghetto (mm.40), features an intricate, elaborately ornamental melody over an even quaver bass.
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It is, for example, more natural to use the quarter note/crotchet as a beat unit in or than the eight/quaver in or . Third, time signatures are traditionally associated with different music styles—it might seem strange to notate a rock tune in or .
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Meaning, the following passage (measure 10, 11): :File:Etude 25 11c.png Should be played thus: :File:Etude 25 11d.png accentuating those notes indicated by additional quaver (eighth note) tails. This serves to emphasize the underlying quartal rhythm to further accentuate the march-like theme of the left-hand.
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The larger the beat value of the meter, the slower the tempo. Therefore, meters with beat values of a minim/half note (e.g. , ) should be performed with a slow tempo; those with quaver/eighth note beats (e.g. ) are fast; while those with crotchet/quarter note beats (e.g.
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The two textures are then combined to form a third, with alternating semiquavers between the left and right hands as in the beginning, with a steady quaver chordal pulse as in the second part. This pattern is then repeated for the second half of the theme.
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In the four succeeding bars the quaver figure in the continuo line is replaced by a new motif of rising semiquaver scales, with the detached quavers and crotchets passing into the upper strings and the woodwind playing sustained chords. In the concluding two bars of the sinfonia the semiquaver scale motif passes into the recorders in thirds and is taken up by the other instruments for the sustained final cadence. Several commentators, most notably and more recently , have interpreted the repeated quaver figures passed between different groups of instruments as "unmistakably depict[ing] the gesture of breaking bread." Spitta also felt that the detached notes, which subsequently accompany quite different text, added "a tender, dreamy tinge" to the movement.
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Across this ELECTRIC surface glides Prince's graceful quaver, tossing off lyrics with an exhilarating breathlessness. He takes the sweet romanticism of Smokey Robinson and combines it with the powerful vulgate poetry of Richard Pryor. The result is cool music dealing with hot emotions. At its best, Dirty Mind is positively filthy.
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The second movement is a brief choral episode in the , borrowing thematic material from the composer's Magnificat. The fourth movement is based on a semiquaver-quaver motif similar to the first movement, and closes with a fugue. Figure 2. Measures 129 and 130 of the Violino I staff of RV 588.
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Towards the end of the piece, Bach fills out the accompaniment in the final virtuosic semiquaver solo episode by adding imitative quaver figures in the lower parts. compares the dramatic ending—with its chromatic fourths descending in the pedal part—to that of the keyboard Sinfonia in D minor, BWV 779.
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These owls roost during the day, usually in pairs. When disturbed they may fly in bright sunshine although they choose to shelter within a dense grove of trees. They produce an eerie chuhua-aa call with a quaver in the second note. This call is an antiphonal duet of the male and female.
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1 – All grace notes and grace note types are forestrokes, that is they occur before the notes they embellish. They are "appoggiaturas" or "semiquaver" notes, or "Caciaturas" or demi-semi-quaver notes, which predominate. 2 – All grace notes in canntaireachd are represented by consonants. 3 – All compound forms are made by combining single forms.
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The first statement of the theme is melodically pruned down, so that the quaver figure in the response gives the impression of a variation. This warm- hearted and solid movement was added at a later stage by Handel, perhaps because it provided a more effective way to end the concerto than the brilliant fifth movement.
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After twelve bars of this, there is then a melody in the right-hand and chords in the left. This continues for sixteen bars. There is then semi-quaver runs with the right hand, accompanied by more chords in the left. The tempo then changes to Poco piu mosso and the main theme starts.
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Like the passepied, a Baroque dance movement, this variation is in time with a preponderance of quaver rhythms. Bach uses close but not exact imitation: the musical pattern in one part reappears a bar later in another (sometimes inverted). First 8 bars of the fourth variation. Each repeated section has alternate endings for the first or second time.
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Interview with Marc-André Hamelin; retrieved 27 March 2017. His best-known work is his 60 Études, Op. 63. Of this album, the "Bravura" étude, Op. 63 No. 24, has passages where the pianist's two hands cross over each other simultaneously every quaver, at the speed of = 100. However, not all of his works have such difficulties.
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Leonard, Nina. Diego Solórzano from Rey Pila Discusses Writing, Touring, Comic Books and More The Wild Honey Pie October 9, 2015. Noisey called Rey Pila's "most excellent new album's" sound as "a little new wave, a little Cars, a little bit of a Bowie quaver, a pinch of Q Lazzarus, a lot of switchblade cool".Taylor Bennett, Kim.
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This variation is marked leggiermente. Whereas the theme and first variation were a binary phrase structure, here we have three variations collated and presented as one. The first texture is a call and response which strongly recalls the beginning of the first movement. The second is a two-voice canon in the right hand over a steady quaver accompaniment.
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It was preceded by a relative major key. It is based on a polyrhythm, with pairs of eighth-note (quaver) triplets in the right hand against quarter-note (crotchet) triplets in the left. The étude is sometimes known as "The Bees". Johannes Brahms wrote a revision of this étude, where the right hand part is played entirely in sixths and thirds.
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The final section "God save the King, ..." is a return to common time (4/4), with the "God save the King" section in homophony, interspersed with the "Amens" incorporating long semiquaver runs which are taken in turn through the six voice parts (SAATBB) with the other parts singing quaver chords accompanying it. The chorus ends with a largo plagal cadence on "Allelujah".
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They're just performed in this acoustic setting. In our heads we went electric without changing instruments." Time (The Revelator) received extensive critical praise, most of which focused on the evolution of lyrics from mountain ballads. For Michael Shannon Friedman of The Charleston Gazette, "Welch's soul-piercing, backwoods quaver has always been a treasure, but on this record her songwriting is absolutely stunning.
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The striding quaver figures in the pedal part, however, are unusual and are a response to Bach's development from a baroque to a more modern style. 600px In the second section, the pedal and the separate hands again play the chorale line by line in inverted canon, separated by an interval of a second and then a ninth, with a free imitative part in the hand playing the canon and a free running semiquaver part in the other hand. The semiquavers occur first in the right hand with the imitative part above the left hand; then in the left hand with the imitative part this below the canon. With the quaver canonic voices now accompanied by continuously flowing semiquavers, the feeling of endless movement in Variatio III and IV is now experienced in Variatio V, a new form of moto perpetuo.
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Bach used the same theme for the opening chorus of his cantata Ich hatte viel Bekümmernis, BWV 21, first performed on 17 June 1714, shortly before ill health forced Prince Johann Ernst to leave Weimar for treatment in Bad Schwalbach. 450px Although each return of the theme with its chromatic falling bass accompaniment is instantly recognizable, Bach's allotting of parts between the two manuals (Oberwerk and Rückpositiv) can occasionally obscure Vivaldi's sharp distinction between solo and ripieno players. Various elements of Vivaldi's string writing, that would normally be outside Bach's musical vocabulary for organ compositions, are included directly or with slight adaptations in Bach's arrangement. As well as the dissonant suspensions in the opening quaver figures, these include quaver figures in parallel thirds, descending chromatic fourths, and rippling semidemiquavers and semiquavers in the left hand as an equivalent for the tremolo string accompaniment.
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Feathered beams Feathered beaming shows a gradual change in the speed of notes. It is shown with a primary straight beam and other diagonal secondary beams (that together resemble a feather, hence the name). These secondary beams suggest a gradual acceleration or deceleration from the first note value within the feathered beam to the last. The longest value possible to show being the eighth note (quaver).
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Elgar's music is in the key of B minor. It alternates between the regular off-beat quaver accompaniment and, at the end of each verse, a single colla parte bar that slows down the tempo to emphasise the text and which requires sensitive accompaniment. Woodwind refrains add colour and contrast. Elgar doubles the vocal lines with flute and clarinet (verse one), solo cello (verse two), and violins (verse four).
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An excerpt from Movement VI ("Danse de la fureur ..."), which is played by all four instruments in unison. It shows Messiaen's use of additive rhythms, in which the underlying quaver beat (eighth notes) is sometimes augmented by a semiquaver (sixteenth note). Messiaen writes of this movement, which is for full quartet: Toward the end of the movement the theme returns, fortissimo, in augmentation and with wide changes of register.
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Thomas Morley's short song Christes Crosse from A Plaine and Easie Introduction to Practicall Musicke... (1597) uses true septupla proportion (notated as ) in the bass part against quaver quintupla () in the tenor, all over an alla-breve cantus firmus. This is intended as an example study to teach the reader the extent of what is possible through proportional notation in the Renaissance, and also to prepare them for difficult sight-singing.
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Vibrato is a technique in which a sustained note wavers very quickly and consistently between a higher and a lower pitch, giving the note a slight quaver. Vibrato is the pulse or wave in a sustained tone. Vibrato occurs naturally and is the result of proper breath support and a relaxed vocal apparatus. Some studies have shown that vibrato is the result of a neuromuscular tremor in the vocal folds.
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The British names go back at least to English renaissance music, and the terms of Latin origin had international currency at that time. Longa means 'long', and many of the rest indicate relative shortness. Breve is from Latin brevis, 'short', minim is from minimus, 'very small', and quaver refers to the quavering effect of very fast notes. The elements semi-, demi- and hemi- mean 'half' in Latin, French and Greek respectively.
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Welsh singer and guitarist Dave Edmunds recorded "I Hear You Knocking" in 1970 at Rockfield Studios in Monmouthshire. Whereas Lewis's original recording is a piano-driven R&B; piece with a 12/8 shuffle feel, Edmunds' version features prominent guitar lines and a stripped- down, straight-quaver rock-and-roll approach. In an interview, John Lennon commented, "Well, I always liked simple rock. There's a great one in England now, 'I Hear You Knocking'".
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In compound meter, subdivisions (which are what the upper number represents in these meters) of the beat are in three equal parts, so that a dotted note (half again longer than a regular note) becomes the beat. The upper numeral of compound time signatures is commonly 6, 9, or 12 (multiples of 3 in each beat). The lower number is most commonly an 8 (an eighth-note or quaver): as in or .
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The tenor sings the chorale melody unadorned as a cantus firmus, but the oboes d'amore play with "the urgent surging of semi-quaver activity". Dürr sees the expression of "" (fight and victory of the Son of God) over "" (weak/sick flesh) of man. Gardiner compares it to a trio sonata movement. He terms the last aria "a berceuse of pure enchantment" and compares it to the "echo aria" from part IV of Bach's Christmas Oratorio.
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Sergei Rachmaninoff, the composer of Polka de W.R.. Polka de W.R. is in A-flat major and in 2/4. The piece starts with semi-quavers in the right-hand and a melody in the left. After four bars, this then progresses to a melody with a quaver followed by triplet semi-quavers underneath. Meanwhile, the left-hand plays a typical polka oom-cha rhythm with firstly a bass note and then a chord above.
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Towards the end of the ballad section, the band builds in intensity, incorporating a guitar solo (in E major) played and composed by Brian May. The intensity continues to build, but once the bass line completes its descent establishing modulation to the new key (A major), the entire band cuts out abruptly at 3:03 except for quiet, staccato A major quaver (eighth- note) chords on the piano, marking the start of the "Opera" section.
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Its most important feature is the contrast between four long notes, each an octave apart, and a fast quaver melody. The trio, in B minor, repeats a simple four-bar melody eight times over, with a relentless broken octave–chord bass figuration adding harmonic, rhythmic, and dynamic intensity as the repeats progress. It provides a diversion to the blithe scherzo, contrasting sharply in tone and adding gravity to the prevailing humor. The final movement is a rondo.
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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 the hook used on the note in black notation. However, because the hook appeared on the eighth note (or quaver) in the later white notation, the modern French term refers to an eighth note. The quarter note is played for half the length of a half note and twice that of an eighth note.
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"" (God gave us the Law), is the first of three recitatives which are sung by the bass as the (voice of Christ), almost like one sermon, which is only deepened by the two arias in between. The recitatives are secco with the only exception of the final line of movement 4, "" (... embrace the arms of Jesus), which is rendered arioso, in "an enlightening major key, a tender vocal phrase and the late semi-quaver continuo line".
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A written note can also have a note value, a code that determines the note's relative duration. In order of halving duration, they are: double note (breve); whole note (semibreve); half note (minim); quarter note (crotchet); eighth note (quaver); sixteenth note (semiquaver).; thirty-second note (demisemiquaver), sixty-fourth note (hemidemisemiquaver), and hundred twenty-eighth note. In a score, each note is assigned a specific vertical position on a staff position (a line or space) on the staff, as determined by the clef.
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Billboard described the song as "an instantly memorable pop-rap concoction with an attention-grabbing intro, a sing-along chorus and about an album's worth of addicting mini-hooks." Chris Lambert of Forbes compared Zervas' "smooth, dreamy flow" on the song to the likes of Migos and Post Malone. Elias Leight at Rolling Stone noted that the singer "likes to stretch syllables and add a light quaver to his vocals" and how the song "sounds like a Post Malone demo".
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In music, a sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation . Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups .
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One measure of the "Scotch snap" or Lombard rhythm notated in sheet music in a 4/4 time signature. The Lombard rhythm or Scotch snap is a syncopated musical rhythm in which a short, accented note is followed by a longer one. This reverses the pattern normally associated with dotted notes or notes inégales, in which the longer value precedes the shorter. In Baroque music, a Lombard rhythm consists of a stressed sixteenth note, or semiquaver, followed by a dotted eighth note, or dotted quaver.
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In the examples below, bold denotes a more-stressed beat, and italics denotes a less-stressed beat. Simple: is a simple triple meter time signature that represents three quarter notes (crotchets). It is felt as ::: one and two and three and ... Compound: In principle, comprises not three groups of two eighth notes (quavers) but two groups of three eighth-note (quaver) subdivisions. It is felt as ::: one two three four five six ... These examples assume, for simplicity, that continuous eighth notes are the prevailing note values.
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Quavers are currently only available in Cheese flavour, but have had many other varieties over the years. The primary ingredient in Quavers is potato starch. They are deep fried to give a snack with a similar texture to krupuk (prawn crackers), but have a different flavour and are smaller with a curled-up rectangle shape (similar in cross-section to a quaver). Originally only available in cheese and smoky bacon flavours, the product line went on to introduce two other flavours, prawn cocktail and salt and vinegar.
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Next, in Face the Music, Professor Quaver, the new music teacher, arrives at Bash Street School. The kids, to his dismay, don't know how to play instruments properly, nor do they know how to sing, opting for a noisy football chant instead. With the class dismissed, the Professor decides Winston's yowling is far more pleasant to listen to than the kids, and even conducts the cat with a baton. Next, in Hotdog, Gnasher teaches Gnipper how to get a free meal at a hot dog stand.
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There is an alternative reading proposed by some editors: according to them, the note "g" in the third-but- last bar in the triplum, marked in purple here, is to be read as a simple undotted quaver (an imperfect semibreve). Then, the triplum will maintain its 6/8 movement throughout, but its second and third talea will not be perfectly aligned with those of the other voices, being shifted back by one eighth note with each repetition of the pattern.von Ficker, Rudolf: Sieben Trienter Codizes (6. Auswahl).
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" The following track, "untitled 02", was characterized by NME as "a chin- stroking track about faith, gifts from God and the ostentatious material indulgence of his peers, that incorporates "faint saxophone squalls and cloying synths," while The Guardian noted Lamar's vocal experimentation, with him "push[ing] his timbre into an ancient-sounding quaver before seizing the shifting sands of the beat with relish for a bravura final rap verse." The chant "Pimp pimp!... Hooray" on this track is the first mention of an album- spanning refrain.
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During breeding in captive pairs, the tone of the male's call is reported to be higher pitched and the tone of the female quavering. A trembling attempt at the identity note is made by individuals shortly after fledging, likened to a broken toy whistle. The faltering call of the juveniles only loses its quaver at maturity. The parenting call is softer and sonorous; the female's voice is distinguished by an insistent quiver as she attends to fledglings who respond with a sharp and low twitter.
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In the seven dens of the first genie, each tone is audible, and manifests as a colored quaver (eighth note) that floats toward the ground. In the seven dens of the second genie, the tone is inaudible, so the player must match the color of the note to the color of the corresponding gong. In the seven dens of the third genie, the tone is audible, but no note appears; the player must recognize the note's pitch, and strike the correct gong. When the player passes the trial, a gateway to another tunnel opens.
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All of the chords used in the piece of music are diatonic and chromatic, with no diatonic and chromatic alterations; it has been said that this "adds to the directness of the music". The main melody is scored for a piano, which has been described as having a "pub sing- a-long feel" to it. The tune is also doubled by a whistle, and there are two rhythmic permeations, a dotted quarter note-eighth note moving the music forward, and a two-quaver hand-clap on the fourth beat of every other bar.
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The vast majority are shorter, with the discursive imitative paragraphs of the earlier motets giving place to double phrases in which the counterpoint, though intricate and concentrated, assumes a secondary level of importance. Long imitative paragraphs are the exception, often kept for final climactic sections in the minority of extended motets. The melodic writing often breaks into quaver (eighth-note) motion, tending to undermine the minim (half-note) pulse with surface detail. Some of the more festive items, especially in the 1607 set, feature vivid madrigalesque word-painting.
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The pursuit continued throughout Saturday and Saturday night. One of the results of the Yuletide crime was its tragic implications for little children in Eastland County. On Christmas Eve, a church in Eastland was filled and as jolly Saint Nicholas entered, a little boy called out, with a quaver in his voice: "Santa Claus, why did you rob that bank?" When the bandits wrecked their car in Putnam, they then successfully commandeered a vehicle driven by Carl Wylie, a young driller, forcing him as their hostage to drive.
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An eighth note (American) or a quaver (British) is a musical note played for one eighth the duration of a whole note (semibreve), hence the name. This amounts to twice the value of the sixteenth note (semiquaver). It is half the duration of a quarter note (crotchet), 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 (breve), and one thirty-second the duration of a longa. It is the equivalent of the fusa in mensural notation .
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" John Martinucci from Gavin Report described it as "melancholy". People magazine called the song "haunting", writing that, "The quaver in her voice says more about love's promise and deceit than many singers manage in a career." John McAlley of Rolling Stone called it "the album's best material", writing that "Braxton's love hangover has reached ludicrously epic proportions." Steve Pick from St. Louis Post-Dispatch noted that "here's another sad love song from a sultry alto singer who seems to be getting the best of the LaFace production team's work this year.
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Nichols, p. 64 Nevertheless, many years after the work was written, Poulenc told Claude Rostand: In a 1998 study of Poulenc, Keith Daniel suggests that this ex post facto analysis by Poulenc was to some extent myth- making – something he was given to. Roger Nichols (2020) concurs and considers the most striking feature of the Trio is its depth of feeling, "especially in the central Andante where, in his favourite B flat major and over a continuously pulsing quaver movement, he gives full rein to his lyrical gifts".Nichols, p.
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His first stage appearance was at the Palace, Luton, in 1921. His speciality was that during his intoned monologue, he would interrupt the flow by supplying the punctuation, thus: > This is Stainless aimless brainless Stephen, semi-colon, broadcasting semi- > conscious at the microphone semi-frantic. Closing a broadcast on 22 March 1941, he said: > And so, countrymen, semi-colon, all shoulders to the wheel, semi-quaver, > we'll carry on till we get the Axis semi-circle, and Hitler asks us for a > full stop! He is said to have based the idea during a radio course he took while on military service.
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Eighth notes are notated with an oval, filled-in note head and a straight note stem with one flag note flag (see Figure 1). The stem is placed to the right of the notehead and extends upwards if the notehead lies below the middle line of the staff, and to the left of the notehead extending downwards if the notehead lies on or above the middle line of the staff, in instrumental notation. In vocal music, a middle-line notehead extends upward instead of downward. A related symbol is the eighth rest (or quaver rest), which denotes a silence for the same duration .
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The different motifs in the ritornello thus also serve the purpose of accompanying specific parts of the text. The first predominant motif consist of detached repeated quaver chords, passed antiphonally between the three instrumental groups of recorders, oboes and strings. These are accompanied by similarly detached crotchets, scored as quavers with rests, in the walking bass of the continuo. After thirteen bars there follows a four bar passage of melifluous semiquaver passages in thirds for the recorders with imitative responses from the oboes; the upper strings take up the detached crotchets and the continuo the groups of detached repeated quavers.
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Equally well the repetition of this phrase is broken for one bar during which the original texture of the sinfonia is briefly heard again. describes the musical material as representing "imploring gestures, emotionally choked, their pleas breaking and stuttering." In contrast the following phrase "und die, so in Elend sind" has sustained melismas in all the parts on the word "Elend" (misery), with chromaticism, suspensions and descending quaver figures. :800px There is a further contrast in the next phrase "führe ins Haus" where the soprano and alto are paired with a long lyrical melisma in semiquavers on the word "führe" (lead).
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This new musical material is matched by the semiquaver figures of the woodwind. Similarly the detached quaver accompaniment in the continuo is matched by parallel figures in the tenor and bass parts. In the next four bars of this second rendition of the sinfonia, there is a reprise of the rising semiquaver figures in the continuo and sustained chords in the woodwind. In the first two bars each voice in the chorus enters successively with a new rising fourth motif for the phrase "und die" before the music intensifies as the chorus joins the sustained chords of the woodwind for the word "Elend".
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The central third movement, marked Larghetto e piano, contains one of the most beautiful melodies written by Handel. With its quiet gravity, it is similar to the andante larghetto, sometimes referred to as the "minuet", in the overture to the opera Berenice, which Charles Burney described as "one of the most graceful and pleasing movements that has ever been composed". The melody in time and E major is simple and regular with a wide range with a chaconne-like bass. After its statement, it is varied twice, the first time with a quaver walking bass, then with the melody itself played in quavers.
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" Considine goes on to say that the song's chorus is "as sobering as it is sad," adding that "hearing the quaver in Madonna's voice as she insists 'You'll always be my baby' is enough to break any listener's heart." Scott Kearnan of Boston.com included the track at number twenty-nine on his list of "30 Best Madonna Songs," commenting that many people overlooked the song when it was released, due to the "backlash to her most overtly sexual period" that was occurring at that time. Larry Flick of Billboard gave the song a positive review, calling it "Lyrically daring.
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As the "Notes" section of the music braille chart above shows, each symbol shows the pitch and choice of two rhythmic lengths of a note which will be context-clear. For instance, dots 1,4,5 indicate the basic form of C which is an eighth note (quaver) or the much-rarer 128th note. Every rhythm symbol, as said, doubles up in meaning; 8th notes match 128th notes, quarter notes (crotchets) match 64th notes, half notes match 32nd notes, and whole notes match 16th notes (semiquavers). Beginners first learn the most common rhythmic value (8th, quarter, half, and whole notes).
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The five orders are: #Accent: the pitch (melody) of the syllable, not—as in music—a fixed pitch, but rather acute (rising), grave (falling), or circumflex (both rising and falling, resulting in either a peak or dip in the middle). #Quantity: the duration of the syllable, regarded as semibrief (whole note), minim (half note), crotchet (quarter note), or quaver (eighth note); plus dotted (× 1.5) versions of each length. #Pause: silence or rest, measured by the same durations as quantity. (Steele marks his pauses with the accidents of both quantity and poize—but logically not accent or force.
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She continued working on her craft, and was one of the performers at the 1970 Isle of Wight Festival. Sorrels maintained an active performance schedule throughout the 1970s, 1980s and 1990s, often touring solo or with close friend Utah Phillips. Reviewing Sorrels' 1971 Sire LP Travelin' Lady, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981): "Though it's reminiscent of many I-gotta-move-babe male precedents, this is the most independent female persona yet to emerge, but that plaintive country quaver begins to wear after a while." Sorrels was awarded the Kate Wolf Memorial Award by the World Folk Music Association in 1990.
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Text painting 2 Orchestral quaver In an effort to elicit an effect of gasping for breath, Brahms inserts a hemiola over the lyric Wasser von Klippe zu Klippe geworfen. By alternating quarter notes with quarter rests, this section feels as though the meter has changed, essentially converting two bars of into one of . Choral hemiola Hemiola 1 Hemiola 2 The ordinary rhythm returns in measure 154 with the choir completing the stanza and ultimately cadencing on a D major triad in measure 172. After a 21-measure orchestral interlude, Brahms restates the last stanza of text with two separate fugal sections in measures 194–222 and 222–273.
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Painted red and given the civil registration G-EAPX, it was flown by F. P. Raynham to set a new British speed record of 161.434 mph (259.75 km/h) on 21 March 1920 at Martlesham Heath."And a Semi-quaver Speed Record"'Flight 3 June 1920 Piloted by Frank Courtney, who replaced Raynham as pilot owing to an injury, it won the 1920 Aerial Derby, completing the course at a speed of . On touching down at the end of the race Courtney hit a bump on the airfield and was thrown back into the air, touched the ground with one wingtip, and turned over. He was unhurt.
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In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing (as opposed to the melodic guitar solos and lead melody lines played by the lead guitar), often repeating quaver (eighth-note), half note or whole note chords. In the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop and rock styles. Although rhythm sections spend much of the time providing accompaniment (backing parts) for songs, in some cases, they provide other musical roles.
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Gwyneth Evelyn "Gwen" Verdon (January 13, 1925October 18, 2000) was an American actress and dancer. She won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer's assistant and specialty dance coach for theater and film. With flaming red hair and a quaver in her voice, Verdon was a critically acclaimed performer on Broadway in the 1950s, 1960s, and 1970s. Having originated many roles in musicals she is also strongly identified with her second husband, director–choreographer Bob Fosse, remembered as the dancer–collaborator–muse for whom he choreographed much of his work and as the guardian of his legacy after his death.
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The next year, Stravinsky made a commercial recording of the work as soloist, with the Straram Orchestra, conducted by Ernest Ansermet . Beginning in the mind-1930s, Stravinsky's son Soulima often performed as soloist, most often with his father conducting . In 1949 Stravinsky corrected a number of misprints and omissions in the score, and this version was published in 1952. Unfortunately, a few new mistakes were added in this new edition, the most important of which was a change of the tempo marking at rehearsal number 14 from the original dotted-quaver = 88 to 80, which contradicts the specification that the semiquavers remain the same .
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The Piano Sonata No. 2 draws an allusion to the Prelude from Bach's Cello Suite No. 6 in D major, BWV 1012. A frequently repeated motif of Bach's Prelude is noticeably similar to the main theme of the first movement of Chopin's sonata; in addition, similarly to the Finale of Chopin's sonata, the Prelude is a perpetuum mobile with four groups of quaver triplets per bar.Leikin (1994), pp. 191-192 In addition, in the Finale, Chopin borrowed from Bach the craft of achieving polyphony through a monophonic line by the means of arpeggiated figures: in some respects, he even went further than Bach in this regard.
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In the first solo episode, the harpsichord introduces its own more sustained thematic material as well as semiquaver passagework derived from the end of the second half of the ritornello. All the harpsichord solo passages are based on or develop this thematic material. 800px The two bar "motto" or Vordersatz opening the ritornello, consisting of rhythmic spiccato quaver figures in the strings and cascading broken chord semiquavers in the harpsichord, recurs throughout the movement, heralding solo episodes for the harpsichord. In the remainder of A section, the second episode is introduced by the two bar motto and followed by a reprise of the entire first half of the ritornello.
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Expressway Yo-Yo Dieting (sometimes alternatively presented as DJ Yo-Yo Dieting) is a musical project by Pat Maher, also known as Indignant Senility. Expressway Yo-Yo Dieting presents psychedelic slowed-down music heavily influenced by the genre of slowed hip hop music called Chopped and Screwed. The project's musical style is noted for its genre-defying propensity, especially for its mashing together of ambient, noise and hip hop. The pieces are born from remixing rap and other songs, but with such extreme tempo shifts that "[all] that is left is a glacial beat being buffeted by impossibly slow, deep, and incomprehensible vocals that bubble, shudder, stretch, crackle, and quaver nightmarishly.".
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Nicholls, Australia, 2014 Burke's fiddle playing style was heavily influenced by the Sligo style playing of Michael Coleman, Paddy Killoran, and James Morrison. Burke described the style as being "the best of both worlds"—combining the driving rhythm of Donegal style and the smooth lyricism of Clare style. While acknowledging that his playing is "based on" the Sligo style, he also acknowledges being influenced by many different musical styles outside of Irish traditional music. For example, one of the distinctive features of his playing is the "strong backbeat he applies to many reels, with emphasis on every third quaver", presenting the emphasised beat with an up bow, versus the traditional approach of playing that pattern with an emphasised downbow.
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900px At bar 14, the beginning of the second part, the harpsichord begins a long 8-bar passage in the key of A major, the relative major key, introducing the Sietensatz its second thematic material. For two bars, in contrast to the first and second episodes, it plays sustained notes on the beat followed by semiquavers, with a left hand accompaniment of descending quaver triads in major keys. The accompanying ritornello figures in the upper and middle string accompaniment are inverted and played in unison during the first two bars. After two bars, the episode returns to the minor mode with two bars of semiquaver figures, which are repeated two bars later a minor third higher.
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Kerman, J. Concerto Conversations, HUP (1999) The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise. The cadenza builds up speed through rhythmic shifts from quavers to quaver-triplets and finally to semiquavers, which require ricochet bowing from the soloist.Mendelssohn, F. Violin Concerto in E minor, Op. 64, Bärenreiter (2005) This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist.
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Polonaise in C minor, Op. 40, No. 2 performed by Luis Sarro The second polonaise's main theme, a contrast to the majestic and joyful one in the first, features an even rhythm of quaver chords in the right hand starting with C minor, and a mournful melody played in octaves by the left, with occasional lines played by the right hand. It is interspersed with a more serene theme, before switching to the trio section in A♭ major, which incorporates typical polonaise rhythms. The main theme is then repeated but largely abridged, with an added dramatic melody in the right hand. In Season 3 Episode 20 of Futurama, Bender plays the C minor Polonaise on a miniature piano while floating through space.
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The third andante allegro is original and experimental, taking a short four-note figure from Handel's opera Agrippina as a central motif. This phrase and a repeated quaver figure are passed freely between soloists and ripieno in a movement that relies on musical texture. The following brief adagio, melancholy and expressive, would have been instantly recognized by Handel's audience as starting with a direct quotation from Cleopatra's aria Piangerò la sorte mia from Act III of his popular opera Giulio Cesare (1724). The siciliana is similar in style to those Handel wrote for his operas, always marking moments of tragic pathos; one celebrated example is the soprano-alto duet Son nata a lagrimar for Sesto and Cornelia at the end of act 1 of Giulio Cesare.
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This repeats for the second A section, although instead of the minor 2-5 back into D minor, there is a major 2-5-1 into Bb Major (leading to the B section.) The B section of the piece is a standard 1-6-2-5 in Bb repeating 3 times, then leading to a Bb dominant, and a minor 2-5 back into the root minor. The A section then repeats once to lead back to the start. The melody of the A section is primarily chromatic and conjunct, except the quaver length four note arpeggios at the end of each second bar. The melody of the B section is far less chromatic but still moves in a predominantly conjunct style.
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A more conspicuous feature of Ormandy's disc was that its soloists' and chorus's contributions were sung in German translations of William Shakespeare's verse rather than, as was customary, in the playwright's own, English words. This was historically correct: Mendelssohn had composed his music for a staging of A Midsummer Night's Dream in Berlin, and had set his music to a text translated into German by Schlegel and Tieck. Moreover, performing his score in English necessitated altering his notes, repeatedly changing a pair of quavers into a quaver followed by two semi-quavers. However, Greenfield felt that he "would certainly prefer English every time, if only because the sibilant German consonants make the fairies sound as though they are taken with little sneezes".
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Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation, which is in B major. The scherzo, in the distant key of E-flat major and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section in B major. If played slowly, the main E-flat major theme sounds somewhat similar to the E-flat major melody from the composer's Ballade No. 1. Unlike the scherzo of the B-flat minor sonata (and, indeed, the rest of Chopin's contributions to the genre outside of the sonatas), it is exceptionally short, typically lasting barely two minutes in performance.
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The music of the ritornello, including the different quaver figures in the accompaniment, is re-used throughout the rest of the movement, the thematic material recurring mostly in shortened fragments. After the ritornello, the harpsichord enters in the first of its solo episodes, 16 bars long. Its new melodic material contrasts with the ritornello, with sustained notes and graceful ornamentation typical of the galant style, at first accompanied only by repeated quavers in the left hand and upper strings. 700px The ripieno section responds with one of the later segments of the ritornello; this is followed by a shorter episode for harpsichord which incorporates semiquaver motifs from the ritornello; and the ripieno responds with a variant of the semidemiquaver motto.
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At My Window was released in 1987 to positive reviews. Writing in The New York Times, Robert Palmer declared, "Nobody writes songs about love affairs gone wrong with as much tenderness and insight," adding that Van Zandt sings with "an almost yodel that's country music's equivalent of the bluesy quaver black singer's call soul." Palmer also drew comparisons between Van Zandt and Hank Williams, observing that "their songwriting craft and vocal musicianship are exceptional, but what you hear beyond that: it seems to be the direct, untrammeled expression of a man's soul..."Robert Palmer, "A Hard Road. Seldom Taken", The New York Times, June 7, 1987 Comparisons of the lives of these two men continued to increase following Van Zandt's death on New Year's Day 1997, the forty-fourth anniversary of Williams' death.
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The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano. In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure. Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant, which have a stark quality owing to their unusual relationship to the home key. The narrator's phrases are echoed by the voices of father and son, the father taking up the deeper, rising phrase, and the son a lightly undulating, answering theme around the dominant fifth.
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One reviewer has commented: "To call Kullervo dark and brutal does not do full justice to the opera", citing the love of Kullervo's mother, friendship with Kimmo, even humour from the hunter. However, another, describing the premiere, wrote that "not every new opera packs so immediate a punch, or leaves one feeling - as with the works of Janáček - at once depressed at so bleak a view of the world [...] yet inspired and even elated by the dispassionate passion with which that view has been expressed". The music has "a strong tonal basis" and "colourful effects enhanced by some imaginative instrumentation". Another critic noted that there "is not a superfluous quaver in Kullervo" and admired the "sinuously coiled melodies [...] quirky ostinato figures, long-held pedal- points, sardonically percussive setting of arioso dialogue".
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600px The seventh concerto is the only one for full orchestra: it has no solo episodes and all the movements are brief. The first movement is a largo, ten bars long, which like an overture leads into the allegro fugue on a single note, that only a composer of Handel's stature would have dared to attempt. The theme of the fugue consists of the same note for three bars (two minims, four crotchets, eight quavers) followed by a bar of quaver figures, which with slight variants are used as thematic material for the entire movement, a work relying primarily on rhythm. The central expressive largo in G minor and time, reminiscent of the style of Bach, is harmonically complex, with a chromatic theme and closely woven four-part writing.
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In addition to this, the dagger was also used in notations in early Christianity, to indicate a minor intermediate pause in the chanting of Psalms, equivalent to the quaver rest notation or the trope symbol in Hebrew cantillation. It also indicates a breath mark when reciting, along with the asterisk, and is thus frequently seen beside a comma. In the 16th century, the printer and scholar Robert Estienne (also known as Stephanus in Latin and Stephens in English) used it to mark differences in the words or passages between different printed versions of the Greek New Testament (Textus Receptus). Due to the variations as to the different uses of the different forms of the obelus, there is some controversy as to which symbols can actually be considered an obelus.
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Sequenced tracks with a strong beat almost always work well, but very busy or heavily compressed tracks or those with irregular rhythms can drift in and out of time, making some of the automatically generated dances difficult to perform or hard to learn. It can cope with some tempo and time signature changes, but not all. It cannot resolve fractions of a beat shorter than an eighth note (quaver), whereas some pre-programmed games use sixteenth notes (semi-quavers or demi- quavers), especially at high difficulty levels. Dance Factory has three difficulty settings but the actual difficulty of the dances it generates is influenced as much by the track it is asked to analyse, so a fast song may be more difficult at "easy" setting than a slow one at "normal" or "pro" difficulty.
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Another lively two-part virtuosic variation for two manuals, in time. It begins with the hands chasing one another, as it were: the melodic line, initiated in the left hand with a sharp striking of the G above middle C, and then sliding down from the B one octave above to the F, is offset by the right hand, imitating the left at the same pitch, but a quaver late, for the first three bars, ending with a small flourish in the fourth: The first 4 bars of Variation 23. This pattern is repeated during bars 5–8, only with the left hand imitating the right one, and the scales are ascending, not descending. We then alternate between hands in short bursts written out in short note values until the last three bars of the first section.
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The Otamatone is a singing toy whose body is shaped like a quaver (it also somewhat resembles a tadpole, "otamajakushi" being Japanese for "tadpole"), with sound emerging from a "mouth" on the notehead. It requires two hands to play: while one hand holds and squeezes the "head", the other hand controls the pitch of the tune by placing the finger on a ribbon controller on the stem; a higher position on the stem creates a lower sound. The ribbon controller is deliberately delinearized to resemble a guitar, so there is a shorter distance between higher notes than between lower ones. Varying the pressure on the head (thereby opening and closing the "mouth" of the Otamatone) creates a wah-wah effect, and shaking the neck (and thereby slightly changing pressure on the head) creates a vibrato effect.
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Musiker performed and recorded klezmer music extensively throughout his life, often playing with his brother Ray Musiker and father-in-law Dave Tarras. He is recognized as an innovative and influential klezmer musician, incorporating elements of jazz and swing to create a distinctive and characteristic 'New York' klezmer style. As well as his own band, the Sam Musiker Orchestra, he played and recorded with numerous other klezmer musicians in the busy and fertile New York Jewish musical community of the 1930s and '40s. Musiker's arrangements in surviving recordings have a distinct sound with a rhythm described as "bustling" and "propulsive", with the drummer accenting the first, fourth and seventh quaver of each 4/4 bar, the double bass providing a steady pulse on the beat and either piano or accordion playing chords on the off-beats.
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44) Boulez on Conducting. London, Faber. Berlioz was also capable of conveying great delicacy in his instrumental writing. A particularly spectacular instance is the “Queen Mab” scherzo from the Romeo et Juliette symphony, which Hugh Macdonald (1969, p51) describes as “Berlioz’s supreme exercise in light orchestral texture, a brilliant, gossamer fabric, prestissimo and pianissimo almost without pause: Berlioz, Queen Mab scherzo from Romeo et JulietteBerlioz, Queen Mab scherzo from Romeo et Juliette Boulez points out that the very fast tempo must have made unprecedented demands on conductors and orchestras of the time (1830), “Because of the rapid and precise rhythms, the staccatos which must be even and regular in all registers, because of the isolated notes that occur right at the end of the bar on the third quaver…all of which must fall into place with absolutely perfect precision.”Boulez, P. (203, p.
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The new Overlord (left) and Gnarl (right) The silent protagonist Overlord from the first game is not present in Overlord II, as he was trapped in the Abyss dimension at the end of the expansion, Overlord: Raising Hell. Instead, the role of the Overlord is taken up by his child, who was removed from the original Tower to live in a mountain village, but is thrown out by the villagers to appease the Glorious Empire and, on his escape, taken in by the Minions. Gnarl, the aged Minion advisor from the previous games, is the main recurring character in Overlord II. As an adviser and initial tutor, Gnarl engages in most of the game's dialogue, including narration, outlining objectives, dropping hints and even making jokes. Other Characters returning from Overlord include Forge Master Giblet, the minion minstrel Quaver, and the human Rose, mistress of the previous Overlord.
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A possible alternative way of rhythmizing the Seikilos song, in order to preserve the iambic ('rising', di-dum) feel of the rhythm, was recently suggested by Armand D'Angour, with the barlines displaced one quaver to the right, as in the following transcription:, similarly suggests that the theses were placed on the long syllables of the song. A variation of the Seikilos epitaph with barlines as suggested by Armand D'Angour (2018) D'Angour adds: "In practice, it is open to listeners to switch their perception of ictus to either manner of execution. When one attempts to sing the piece according to such dynamic accentuation ..., the resulting cross-rhythms give the performer a different (and arguably more interesting) sense of melodic movement from that achieved by stressing the words solely according to the regular alternation of ictus." Stefan Hagel, discussing an example in the Anonymus Bellermanni, suggests the possibility of a similar transcription with displaced barlines of a line of music with this same rhythm.
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