74 Sentences With "crotchet" | Random Sentence Generator

This includes cross-stitch, drawing, card making, crotchet, origami, scrapbooking and watercolor.

If I'm reading this correctly, two quavers would equal one crotchet, and four crotchets equal a hemiliter.

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).

Maxine attended to his every whim and crotchet, never lost faith in his brilliance or potential, and delighted in surrounding him with exactly the sort of frivolous company his wife abhorred.

For further proof that we don't speak the same language as the British, please note that they call their quarter note a "crotchet," which is a fun word that is both hilarious and has absolutely nothing to do with measurements as we Americans know them.

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.

Abbado's third movement was where his interpretation was at its most radical. Mahler had marked its opening as "Ruhevoll [peaceful], the long melodic line with its bell-like pizzicato imitative, Mahler told Bruno Walter, of 'recumbent stone figures, their arms crossed in eternal sleep on the tops of tombs'." Klemperer had "ungraciously and impatiently" adopted a tempo of crotchet = 72; Kubelik, a "limpid" crotchet = 56; Szell an "innig [intimate] and grave" crotchet = 52: Abbado began at crotchet = 40, in flagrant defiance of Mahler's wishes. Moreover, when, at Figure 2, Mahler stipulated that the tempo be changed from poco adagio to viel langsamer [much slower], Abbado actually accelerated from crotchet = 40 to crotchet = 46.

Traditional dance songs of the Yupik of Alaska are accompanied by frame drums, beaten with a long thin wand, most commonly in a crotchet–dotted crotchet (quarter–dotted quarter) pattern.

A quarter note (crotchet) with stem pointing up, a quarter note with stem pointing down, and a quarter rest Four quarter notes. Quarter notes are the smallest note value not beamed together. 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.

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.

Unlike the chant-like verses, the antiphon is more like a short hymn-verse in a regular metre. The tempo of the antiphon is directly related to that of the verse: the one-beat-in-the-bar verse equals the beat unit, typically crotchet (quarter note) or dotted crotchet, of the antiphon. There should be no break between psalm and antiphon: each should follow the other without interruption.

First edition title page Crotchet Castle is the sixth novel by Thomas Love Peacock, first published in 1831. As in his earlier novel Headlong Hall, Peacock assembles a group of eccentrics, each with a single monomaniacal obsession, and derives humour and social satire from their various interactions and conversations. The character who most closely approximates to the author's own voice is the Reverend Doctor Folliott,Introduction to Crotchet Castle by Raymond Wright, in 1969 Penguin English Library edition of Nightmare Abbey and Crotchet Castle () p. 33 a vigorous middle-aged clergyman with a love for ancient Greek language and literature, who is greatly suspicious of the reform slogan of the "March of Intellect", as well as anything done by the "learned friend" (his nickname for Lord Brougham).

The March of Intellect remained ambivalent throughout satire, but recurrently criticised the ambition of educating the working class. In Peacock's 1831 novel Crotchet Castle, one character, Dr. Folliott, satirised the "Steam Intellect Society" and linked the march explicitly to folly, rural protest and the rise in crime: "the march of mind...marched in through my back-parlour shutters, and out again with my silver spoons".Thomas Love Peacock, Nightmare Abbey and Crotchet Castle (London 1947) p. 212-3, and p.

Frangipani Press, 1986. Typically Sermisy's chansons are chordal and syllabic, shunning the more ostentatious polyphony of composers from the Netherlands, striving for lightness and grace instead. Sermisy was fond of quick repeated notes, which give the texture an overall lightness and dance-like quality. Another stylistic trait seen in many of Sermisy's chansons is an initial rhythmic figure consisting of long-short-short (minim-crotchet-crotchet, or half- quarter-quarter), a figure which was to become the defining characteristic of the canzona later in the century.

Très modéré :(crotchet = 92) :There are 14 bars in this movement. It is mostly piano or pianissimo, with only four bars marked mezzo-forte. The movement ends with a ppp (pianississimo) two-octave upward glissando. ; III.

Alerte :(crotchet = 138) : The finale is the most exuberant of the three, although like the second movement it ends PPP. It moves between 4/4, 7/4, 3/8 and 5/4 time. There are 58 bars.

Candélas then has "Ah!"s at the start of every other following bar for the next four bars. These bars finish with semi-quavers and then an ascending scale. There are then crotchet chords for 15 bars.

The crotchet butterflyfish (Chaetodon guentheri) is a fish species in the genus Chaetodon, and is native to The western pacific ocean near Taiwan. In the wild they are found near rocky reefs and feed on plankton. They grow up to 7 inches.

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.

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 x20px, or occasionally, as the older symbol x14px.

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 .

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.

The same instrument recorded a crotchet, an instantaneous perturbation of the Earth's ionosphere by ionizing soft X-rays. This could not easily be understood at the time because it predated the discovery of X-rays (by Roentgen) and the recognition of the ionosphere (by Kennelly and Heaviside).

Spears' "whimsical vocals" contain "catchy ditty layers." Singer Katy Perry revealed during the film's premiere that she, along with co-writer Bonnie McKee, provided some background vocals on the song. The song has been composed in the key of F# Major. It has a BPM of 128 crotchet beats per minute.

Both men are deeply influenced by German philosophy, especially the transcendental idealism of Immanuel Kant. Throughout the novella there are many minor allusions that confirm the Flosky-Coleridge identification. Peacock also satirises Coleridge as Mr Skionar in Crotchet Castle. ;Mr Hilary: Scythrop's uncle, the husband of Mr Glowry's elder sister.

Also in 1837, Headlong Hall, Nightmare Abbey, Maid Marian, and Crotchet Castle appeared together as vol. 57 of Bentley's Standard Novels. During 1839 and 1840 Peacock superintended the construction of iron steamers which rounded the Cape, and took part in the Chinese war. Peacock's occupation was principally with finance, commerce, and public works.

The piece is in ternary form (ABA). Its main theme has a slow 4/4 with a heavy, steady crotchet beat. It starts with the main theme which repeats once with only minor variations. The right hand plays a slow melody and the left hand accompanies with a bass note and then a chord, in crotchets.

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.

Available at Rock's Backpages (subscription required). Derek Jewell of The Sunday Times found the album "refreshingly terse and unpretentious", but lamented the inclusion of "cod-1920s jokes (Maxwell's Silver Hammer)" and "Ringo's obligatory nursery arias (Octopus's Garden)". Robert Christgau later referred to "Maxwell's Silver Hammer" as "a McCartney crotchet". There exists a taped recording of a band meeting conducted in September 1969.

The song ends with a crotchet triplet composed of tuplets of 5, 5, and 6, followed by two tuplets of 11 in the space of one. Zappa would re-arrange the song into "The Black Page #2" shortly after his band's mastery of the piece. This second version has a disco beat, but nevertheless retains nearly every metric complexity from #1.

The Dodeka notation system represents note duration in a visual manner. Note lengths are represented through the notes graphical shapes, similar to what can be found in sequencer programmes. The reference time unit or time value being the quarter note (or crotchet), all durations are expressed as visual ratios from this reference point. For example, a whole note is the representation of four quarter note lengths.

British Library, Royal MS 13 B VIII; Bodleian Library, MS Rawlinson B 188; University Library, Cambridge, MS Ff i 27/ff. 253-471 The British Library manuscript has some large coloured foliate initials. The work plays a role in the plot of Thomas Love Peacock's 1831 novel Crotchet Castle, where the medieval enthusiast Mr. Chainmail proposes to retrace the steps of "Giraldus de Barri".

He wrote his decisions on the score, notably those concerning the tempo. Karajan decided on minim (half note) = 80 whereas Beethoven had written crotchet (quarter note) = 120. The anthem was launched via a major information campaign on Europe Day in 1972. In 1985, it was adopted by EU heads of state and government as the official anthem of the then European Community – since 1993 the European Union.

The flare was observed visually by Richard Christopher Carrington and the geomagnetic storm was observed with the recording magnetograph at Kew Gardens. The same instrument recorded a crotchet, an instantaneous perturbation of the Earth's ionosphere by ionizing soft X-rays. This could not easily be understood at the time because it predated the discovery of X-rays (by Roentgen) and the recognition of the ionosphere (by Kennelly and Heaviside).

Additive rhythm time. 1 whole note = 8 eighth notes = 3 + 3 + 2\. The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms – that is, metres which have a regular pattern of beats of uneven length. For example, the time signature indicates each bar is eight quavers long, and has four beats, each a crotchet (that is, two quavers) long.

First edition title page Headlong Hall is a novella by Thomas Love Peacock, his first long work of fiction, written in 1815 and published in 1816. As in his later novel Crotchet Castle, Peacock assembles a group of eccentrics, each with a single monomaniacal obsession, and derives humor and social satire from their various interactions and conversations. The setting is the country estate of Squire Harry Headlong Ap-Rhaiader, Esq., in Wales.

The chain semantic shift whereby notes which were originally perceived as short came progressively to be long notes is interesting both linguistically and musically. However, the crotchet is named after the shape of the note, from the Old French for a 'little hook', and it is possible to argue that the same is true of the minim, since the word is also used in palaeography to mean a vertical stroke in mediaeval handwriting.

He certainly had some education, and a sense of humour - the tunes are introduced by a poem: :Musicks a Crotchet the Sober thinks it Vain :The Fiddles a Wooding Projection :Tunes are but Flights of a Whimsical Brain :Which the Bottle brings best to Parfection :Musisians are half witted mery and madd :And Those are the same that admire Them :Theyr fools if they Pley unless their Well Paid :And the Others are Blockheads to Hire them.

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.

His 'Nuova inventione' refers to his system for indicating the metre and note values with which the music is played. This involves using upper case and lower case letters to represent the minim and the crotchet respectively. A dot after the letter has the same function as it does is modern staff notation; it increases the value of the note by half its original value. This style of music printed in alfabeto became very popular in Italy during the 17th century.

Rhythm pattern characteristic of much popular music including rock (), quarter note (crotchet) or "regular" time: "bass drum on beats 1 and 3 and snare drum on beats 2 and 4 of the measure [bar]...add eighth notes [quavers] on the hi-hat".Peckman, Jonathan (2007). Picture Yourself Drumming, p.50. . Time signatures are defined by how they divide the measure (in , complex triple time, each measure is divided in three, each of which is divided into three eighth notes: 3×3=9).

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.

He opposed the employment of steamers on the Red Sea, probably in deference to the supposed interests of the company. In 1829 he published The Misfortunes of Elphin founded upon Welsh traditions, and in 1831 the novel Crotchet Castle, the most mature and thoroughly characteristic of all his works. He was greatly affected by the death of his mother in 1833 and said himself that he never wrote anything with interest afterwards. Peacock often appeared before parliamentary committees as the company's champion.

This allows the music to run smoothly. The codetta, just as the other parts of the exposition, can be used throughout the rest of the fugue. The first answer must occur as soon after the initial statement of the subject as possible; therefore the first codetta is often extremely short, or not needed. In the above example, this is the case: the subject finishes on the quarter note (or crotchet) B of the third beat of the second bar which harmonizes the opening G of the answer.

Byrd's set contains compositions in a wide variety of musical styles, reflecting the variegated character of the texts which he was setting. The three-part section includes settings of metrical versions of the seven penitential psalms, in an archaic style which reflects the influence of the psalm collections. Other items from the three-part and four-part section are in a lighter vein, employing a line-by-line imitative technique and a predominant crotchet pulse (The nightingale so pleasant (a3), Is love a boy? (a4) ).

AllMusic's Stephen Thomas Erlewine described the track as a "girl group homage". Davidf Farrell of PopMatters opined that the song and "Until the Stars Collide" set a "soaring, dreamy" atmosphere for Wanderlust. According to the sheet music published by Music Sales Group, the song contains 116 beats per minute in crotchet. Its introduction follows a chord progression of C—F/C—C—F/C—C—F/C—C—F, and transitions into the verse section in which the notes C–F–C are followed.

Thomas M. Sleeper (born February 16, 1956) is a modern American composer and conductor. His music has been described as 'hauntingly mysterious' and 'richly lyrical'.8570465 - Thomas Sleeper - Craig Morris, Frost Wind Ensemble at the University of Miami - Crotchet Web Store for online purchase of CDs and DVDs He was the Director of Orchestral Activities and Conductor of the University of Miami Frost Symphony Orchestra until his retirement in 2018. He was also the director of the Florida Youth Orchestra from 1993 to 2020.

During her career more than 92% of babies survived childbirth, a much better figure than is reported in other places at that time. She does not appear to have used any of the obstetric equipment, such as forceps, developed around that time in Holland.Schama, 530 As a matter of fact, instrumental deliveries were exceptional. If needed, she would most likely have asked a man to use an instrument: she recorded six cases of herself using a crotchet, and ten asking a man-midwife to do so.

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.

When they are on or above the middle line (just when they are above this line in vocal notation), they are drawn with stems on the left of the notehead facing down. The American term half note is a 19th-century loan translation of German halbe Note. The Catalan, French, and Spanish names (meaning "white") derive from the fact that the minima was the shortest unfilled note in mensural white notation, which is true of the modern form as well. The form in the earlier black notation resembles the modern quarter note (crotchet).

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 .

In the closing bars the crotchet figure of the bass passes into the upper strings before the final cadence. The last movement, an allegro in A minor, is a radical reworking of a soprano aria that Handel was preparing for his penultimate opera Imeneo. In the concerto, the material is more tightly argued, deriving from two fragmented highly rhythmic figures of 5 and 6 notes. Although there are unmistakable elements of wit in the imaginative development, the prevalent mood is serious: the sustained melodic interludes in the upper strings are tinged by unexpected flattened notes.

The former School Song,School Song composed in the 1920s by music master Frederick R. Boraston (1878–1954) was sung by former pupils, most notably at the annual Speech Day, which were once held at Liverpool's Philharmonic Hall. > The song is written as a march, with repeated crotchet notes in the opening > melody. The unusual seven-bar phrases, and alternating major and minor keys, > produce a feeling that is at once rousing and wistful. The words anticipate > the day we leave school, and the "broad highway of Life" lies before us.

The second section is then played with, again, the right-hand playing the melody and the left-hand accompanying with bass notes and a chord. Although there are occasional changes to this pattern, for example the left-hand plays a sustained minim with a crotchet chord above. The main theme then comes back in with some variations to the first two times it was played: a triplet phrase is added to the 3rd bar of the section. The second section is again repeated with no variations, followed immediately by the first section again with the triplet sequence.

The second allegro is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject. The sombreness of the movement is underlined by the final cadence on the lowest strings of the violins and violas. The largo e piano in F major is one of Handel's most sublime and simple slow movements, a sarabande in the Italian trio sonata style. Above a steady crotchet walking bass, the sustained theme is gently exchanged between the two violin parts, with imitations and suspensions; harmonic colour is added in the discreet viola part.

On the Beatles' recording, "Your Mother Should Know" is performed in the key of A minor and its time signature is 4/4. The use of piano crotchet chords is typical of McCartney's compositions of the time, starting with "Got to Get You into My Life" in 1966. The song's rhythm suggests a foxtrot, a quality it shares with "Catcall" (formerly titled "Catwalk"), a McCartney-written instrumental recorded by Chris Barber's trad jazz band in July 1967. Musicologist Walter Everett comments that the two pieces also share a similar "syncopated ascending octave-arpeggiation of a minor triad".

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.

For instance, in the beat will be a crotchet, or quarter note. This measurement and indication of tempo became increasingly popular during the first half of the 19th century, after Johann Nepomuk Maelzel invented the metronome. Beethoven was one of the first composers to use the metronome; in the 1810s he published metronomic indications for the eight symphonies he had composed up to that time.Some of these markings are today contentious, such as those on his "Hammerklavier" Sonata and Ninth Symphony, seeming to many to be almost impossibly fast, as is also the case for many of the works of Schumann.

In the TV series, Miss Bat has a habit of locking herself in the staffroom cupboard when she is angry. She is played by Una Stubbs. After the first and second series, Stubbs left so a new chanting teacher, Miss Lavinia Crotchet, (played by Polly James) filled her shoes for the third series. The excuse for the change of chanting teachers is that Miss Bat left to go to Mongolia to enjoy Mongolian music (it is mentioned in the first episode of the second series "Old Hats and New Brooms" that Miss Bat likes Mongolian music and even went there for a holiday, bringing back a bottle of inedible yak's milk.

French tambour embroidery was illustrated in detail in 1763 in Diderot's Encyclopedia. The tip of the needle shown there is indistinguishable from that of a present-day inline crochet hook and the chain stitch separated from a cloth support is a fundamental element of the latter technique. The 1823 Penélopé instructions unequivocally state that the tambour tool was used for crochet and the first of the 1840s instruction books uses the terms tambour and crochet as synonyms. Mrs. Gaugain, The Lady's Assistant for Executing Useful and Fancy Designs in Knitting, Netting and Crotchet Work, Edinburgh, 1840 This equivalence is retained in the 4th edition of that work, 1847.

Walter Scott refers to the poem in several of his novels, and it particularly influences his Quentin Durward and The Fair Maid of Perth, in each of which the hero finds himself in a situation so parallel to that of the squire that he cannot help identifying with him.Jerome Mitchell Scott, Chaucer, and Medieval Romance: A Study in Sir Walter Scott's Indebtedness to the Literature of the Middle Ages (Lexington: University Press of Kentucky, 1987) pp. 160-162, 169, 178, 195, 215, 227 Thomas Love Peacock and George Eliot both used quotations from The Squire as epigraphs – to chapter 3 of Crotchet Castle and chapter 62 of Middlemarch respectively.

In 1968 Loughnan joined Col Nolan & The Soul Syndicate, a jazz combo with Col Nolan on organ and piano, John Allan on electric bass, Loughnan playing saxophone and flute, and multi-instrumentalist John Sangster on drums. Combining elements of rock and jazz at a time when jazz fusion wasn't recognised as a separate genre, they were often heard at the Sydney discothèque named the "Whisky a Go Go". Promotional material in the cover notes of Whatever It's Worth tout their music as "just as great for listening as it is for dancing". After releasing Crazy Crotchet in 1966,Kilby, Jordie; Kilby, David (20 October 2013).

Figure 1: A half note with stem facing up, a half note with stem facing down, and a half rest 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 long.

Alla breve, the time signature , takes its name from the note value breve. In the mensural notation of the Renaissance, it was an alternative term for proportio dupla, which meant that the brevis was to be considered the unit of time (tactus), instead of the usual semibrevis. The old symbol , used as an alternative to the numerical proportion 2:1 in mensural notation, is carried over into modern notational practice to indicate a smaller relative value per note shape. It is normally used for music in a relatively quick tempo, where it indicates two minim (half note) beats in a bar of four crotchets (quarter notes), while is the equivalent of , with four crotchet beats .

Though notes usually get the same value relative to the tempo, the way the beats are divided is altered. While much music typically has a backbeat on quarter note (crotchet) beats two and four, half time would increase the interval between backbeats to double, thus making it hit on beats three and seven, or the third beat of each measure (count out of an 8 beat measure [bar], common practice in half time): 1 2 3 4 1 2 3 4 1 2 3 4 5 6 7 8 1 2 3 4 Essentially, a half time 'groove' is one that expands one measure over the course of two. The length of each note is doubled while its frequency is halved.

Later in the development, a seemingly new tune, which is actually an inversion of part of the second theme, is introduced. In the climax of the development, Chopin combines three elements at once: the motifs from the Grave introduction and the main theme in the bass and treble respectively, with crotchet triplets in the middle. In the recapitulation, the principal section containing the main theme does not return, possibly inspired by the older binary sonata form typical of Domenico Scarlatti's keyboard sonatas;Leikin (1994), p. 187 instead, only the lyrical second theme returns in the tonic's parallel major of B. The movement is closed with a brilliant 12-bar coda, marked stretto and ending in three B-flat major chords marked fff (fortississimo).

The series also starred Mildred Hubble's close friends Emma Brown who played her best friend Maud Moonshine, Jessica Fox as Enid Nightshade, Joanna Dyce as Ruby Cherrytree and Harshna Brahmbhatt as Jadu Wali. New characters were also added, such as Frank Blossom (the school's caretaker), and Miss Crotchet, the music teacher in the third series who replaced Miss Bat. New recurring characters included Merlin Langstaff, a wizard apprentice who befriended Mildred, his two mean-spirited acquaintances – Barry "Baz" Dragonsbane and Gary "Gaz" Grailquest, Charlie, Frank Blossom's nephew who really wanted to be a witch at first, but then later decided to train to be a wizard, Mrs. Cosie, the nervous owner of the nearby tearoom and Mistress Hecketty Broomhead, the evil school inspector who later became headmistress for a brief time.

Byrd's 1588 collection, which complicates the form as he inherited it from Robert Parsons, Richard Farrant and others, reflects this tradition. The "psalms" section sets texts drawn from Sternhold's psalter of 1549 in the traditional manner, while the 'sonnets and pastorals' section employs lighter, more rapid motion with crotchet (quarter-note) pulse, and sometimes triple metre (Though Amaryllis dance in green, If women could be fair). Poetically, the set (together with other evidence) reflects Byrd's involvement with the literary circle surrounding Sir Philip Sidney, whose influence at Court was at its height in the early 1580s. Byrd set three of the songs from Sidney's sonnet sequence Astrophel and Stella, as well as poems by other members of the Sidney circle, and also included two elegies on Sidney's death in the Battle of Zutphen in 1586.

The Marian hymns from the 1605 Gradualia are set in a light line-by-line imitative counterpoint with crotchet pulse which recalls the three-part English songs from Songs of sundrie natures (1589). For obvious reasons, the Gradualia never achieved the popularity of Byrd's earlier works. The 1607 set omits several texts, which were evidently too sensitive for publication in the light of the renewed anti-Catholic persecution which followed the failure of the Gunpowder Plot in 1605. A contemporary account which sheds light on the circulation of the music between Catholic country houses, refers to the arrest of a young Frenchman named Charles de Ligny, who was followed from an unidentified country house by spies, apprehended, searched and found to be carrying a copy of the 1605 set.

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.

Reported by Celsus, Ammonius invented the tools to break up "bladder stones". :"A hook or crotchet is fixed upon the stone in such a way as easily to hold it firm, even when shaken, so that it may not revolve backward; then an iron instrument is used, of moderate thickness, thin at the front end but blunt, which, when applied to the stone and struck at the other end, cleaves it. Great care must be taken that the instrument do not come into contact with the bladder itself, and that nothing fall upon it by the breaking of the stone." This is the method Ammonius uses to break up stones in the bladder as reported by Celsus Lithoclastic cystotomy is attributed to Ammonius Lithotomos (stone-cutter), from which arose the term lithotomy, now having the arbitrary signification of cutting for the stone.

The original 1946 printed score also had an incorrect metronome marking for this movement. This was brought to light by Sir Georg Solti as he was preparing to record the piece with the Chicago Symphony Orchestra in 1980: Despite Solti’s assertion that thousands of earlier performances had been played at the wrong speed, both of Fritz Reiner’s recordings – his 1946 recording with the Pittsburgh Symphony Orchestra (the first recording of the work), as well as his 1955 recording with the Chicago Symphony Orchestra (the same orchestra whose side drum player called the matter to Solti’s attention) – had been played at the speed (crotchet equals 94) that Solti later recommended. Reiner had known Bartok since 1905, when they were fellow students at the Budapest Academy. And years later, in 1943, it was Reiner, along with Joseph Szigeti, who persuaded Serge Koussevitsky to commission Bartok to write the Concerto for Orchestra.

"The Black Page #1" is a piece by American composer Frank Zappa known for being extraordinarily difficult to play. Originally written for the drum kit and melodic percussion (as "The Black Page Drum Solo"), the piece was later rearranged in several versions, including the disco "easy teenage New York version" (commonly referred to as "The Black Page #2") and a so-called "new- age version", among others. Drummer Terry Bozzio said of the piece: On the double live album Zappa in New York (recorded 12/1976, released 3/1978), Zappa noted the "statistical density" of the piece. It is written in common time with extensive use of tuplets, including tuplets inside tuplets. At several points there is a crotchet triplet (sixth notes) in which each beat is counted with its own tuplet of 5, 5 and 6; at another is a minim triplet (third notes) in which the second beat is a quintuplet (actually a tuplet of 7), and the third beat is divided into tuplets of 4 and 5.

Nightmare Abbey is generally considered to be Peacock's most lastingly successful work of fiction. Together with four other Peacock works – Headlong Hall, Melincourt, Crotchet Castle and Gryll Grange – it comprises a matching set of satirical works that are quite exceptional in English literature. As a satirist Peacock owed something to Rabelais, Swift and to Voltaire and various French writers of the 18th century; but as a novelist he seems to owe little if anything to his predecessors. He tended to dramatise where traditional novelists narrated; he is more concerned with the interplay of ideas and opinions than of feelings and emotions; his dramatis personae is more likely to consist of a cast of more or less equal characters than of one outstanding hero or heroine and a host of minor auxiliaries; his novels have a tendency to approximate the Classical unities, with few changes of scene and few if any subplots; his novels are novels of conversation rather than novels of action; in fact, Peacock is so much more interested in what his characters say to one another than in what they do to one another that he often sets out entire chapters of his novels in dialogue form.