43 Sentences With "crotchets" | Random Sentence Generator

Among his other crotchets was an aversion to bare canvas.

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

What binds the stories are the tight relationships of Varg and his colleagues and their hilariously human crotchets.

Jean Fritz, an award-winning writer whose work helped transform historical biographies for children from leaden recitals of battles and dates into warm, human narratives full of quirks and crotchets and satisfyingly strange facts, died on Sunday at her home in Sleepy Hollow, N.Y. She was 21988.

After them came trooping wags of innumerous crotchets, bright, belligerent Quaker, and moonshine morosoph Wilson.

In a retrospective review, Robert Christgau panned McCartney's songs as pretentious "crotchets ... so lightweight they float away even as Paulie layers them down with caprices".

He also wrote two volumes of memoirs, Crotchets and Quavers (1855)Max Maretzek (1855) Crotchets and quavers: or, Revelations of an opera manager in America, Samuel French, New York (Digitized by Google Books) and Sharps and Flats (1890).Max Maretzek (1890) (copyright 1889) Sharps and flats, American Musician Publishing Co., New York (Digitized by Google Books) He died in Pleasant Plains, Staten Island, New York in 1897.

Performance was degraded only slightly when four crotchets to the right were presented as the ongoing preview, but significantly when only two crotchets were presented. Under these conditions, peripheral input extended over a little more than a four-beat measure, on average. For the less skilled, useful peripheral perception extended from half a beat up to between two and four beats. For the more skilled, useful peripheral perception extended up to five beats.

In extreme contrast to the energy and speed of the previous variation, this one begins with a four-bar passage marked cantabile, in quiet, slow crotchets at the tempo of the theme. Its peaceful, static character is emphasised by the repeated B in the top voice. As the sonata progresses to its conclusion, Beethoven intensifies almost every musical parameter to the maximum. Note values intensify the rhythm by decreasing from crotchets through quavers, triplet quavers and semiquavers to demisemiquavers.

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.

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.

Figure 1. Measures 1 and 2 of the Violini I e II staff of RV 591. RV 591 has four movements. In a style similar to his psalm setting of In exitu Israel (RV 604), the first movement adorns the chorus' simple rhythms of crotchets and minims with the orchestra playing semiquavers and quavers.

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.

The Cooper has simple lyrical style that is reminiscent of the works of Charles Dibdin. The vocal lines are melodic and easy, refraining from using any complicated coloratura. The music is often cleverly arranged to complement the humour of the text. For example, Fanny’s recitative "He's gone to bed", is accompanied by crotchets marked "Play to the steps of her feet".

30 and then minims for four bars, which create hemiolas and then crotchets. This gives the illusion that the music is accelerating, and so the pulse does not settle. When the melodic line begins, the music is divided into five bar phrases. A sense of stability is established when the theme is repeated by the viola and double bass in stable two bar phrases.

In the modern form, there are sudden tempo changes from the slow introduction to the faster main section of the song. Almost every contemporary mor lam song features the following bassline rhythm, which is often ornamented melodically or rhythmically, such as by dividing the crotchets into quavers: Image:Morlamrhythm.png The ching normally play a syncopated rhythm on the off- beat, giving the music a characteristically quick rhythm and tinny sound.

The transcriptions of the tune for different sets of words vary both in notes and in rhythmic phrasing. The version in The Beggar's Opera differs most widely, with most of the dotted rhythms smoothed out into a regular succession of crotchets. We cannot say whether Scott had any particular variation in mind; he professed to have a good ear for time but little or none for tune.Letters, vol.

The harp, the first instrument the composer had in mind, was also played by King David, and plays a major role in Britten's A Ceremony of Carols. The sopranos, optionally with the altos, sing the first phrase, marked "eagerly". Their motif, an upward triad of two identical quavers and two crotchets beginning after the beat and arriving at a long note. The rhythmic pattern is repeated in all voices throughout the verses.

Parrish, Carl, The Notation of Medieval Music, Pendragon, New York, 1978, pp. 147ff.Harvard Dictionary of Music, 2nd ed., "Chromatic". Similarly, in the 16th century, a form of notating secular music, especially madrigals in was referred to as "chromatic" because of its abundance of "coloured in" black notes, that is semiminims (crotchets or quarter notes) and shorter notes, as opposed to the open white notes in , commonly used for the notation of sacred music.

The first movement begins with a simple 8-bar melody played on the horns. The movement is based on an ostinato of twenty-two transposed repetitions of this melody passed backwards and forwards between different groups of instruments. The first Allegro moderato acts as an intermezzo. Initially it seems to be a continuation of the ostinato from the first movement but fast crotchets, flourishes, dissonant chords and increasingly dense tone clusters intrude.

A melody or series of notes is diminished if the lengths of the notes are shortened; diminution is thus the opposite of augmentation, where the notes are lengthened. A melody originally consisting of four crotchets (quarter- notes) for example, is diminished if it later appears with four quavers (eighth-notes) instead. In the following theme from Beethoven’s Leonora no. 3 Overture, the melodic ideas in bars 3 and 5 recur at twice the speed in bars 7-8: Beethoven, Leonora no.

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.

The second occurrence of the theme is, somewhat unusually, simplified instead of embellished, and in this form is quite similar to the opening of Schubert's unfinished seventh symphony in E major. The movement is in siciliana rhythm. ;III. Menuetto, Allegro vivace - Trio : A scherzo in B major, with trio in G major. The trio has some similarities to that of Schubert's later D major piano sonata, D 850: both trios move in almost constant crotchets and have the same key, sometimes even sharing harmonic progressions.

600px Silbermann Organ, Sophienkirche, Dresden Variatio III is a longer composition lasting 27 bars. With the lower tenor and bass voices of the canons functioning as an accompaniment, the tenor entry is again delayed by two crotchets. The melody in the alto is marked cantabile in both the printed and autograph versions, with the soprano cantus firmus starting in even minims on the upbeat of bar 4. The canons themselves take the form of an ostinato ritornello derived form the first line of the cantus firmus with interludes when the cantus firmus recurs.

The abdomen of the caterpillar has four pairs of prolegs, normally located on the third to sixth segments of the abdomen, and a separate pair of prolegs by the anus, which have a pair of tiny hooks called crotchets. These aid in gripping and walking, especially in species that lack many prolegs (e. g. larvae of Geometridae). In some basal moths, these prolegs may be on every segment of the body, while prolegs may be completely absent in other groups, which are more adapted to boring and living in sand (e. g.

In bagpipe music there is extensive use of grace notes. Indeed, because the chanter is not tongued but supplied by a continuous air source from the bag, grace notes are sometimes the only way to differentiate between notes. For example, inserting a grace note between two crotchets (quarter notes) played at the same pitch is the only way to indicate them as opposed to them sounding like a single minim (half note). Various multiple grace note ornaments are formalised into distinct types, such as doublings, throws, and birls.

Lippi, 71 Man-midwives tended to be more aggressive in their attitude and techniques as opposed to midwives.Marland, Mother and Child Were Saved: The Memoirs (1693-1740) of the Frisian Midwife Catharina Schrader, 37 They were the ones who used instruments (such as crotchets). Even experienced midwives, like Catharina Schrader, did not feel comfortable doing so and would delegate.Marland, Mother and Child Were Saved: The Memoirs (1693-1740) of the Frisian Midwife Catharina Schrader, 38 The use of forceps was actually forbidden to midwives for they were not physicians: only the men could use them.

In Jubiläum, Stockhausen composed an orchestral sound event with superimposed layers of different speeds, degrees of noise, degrees of indeterminacy and integration, and simultaneous transitions from ordered to disordered and back . The work is built upon a formula, announced at the beginning as a massive hymn-like chant in the brass and low strings. The harmonic language of Jubiläum is reminiscent of the music of Stockhausen's teacher Olivier Messiaen, and the dramatic use of space recalls Hector Berlioz. The formula is presented mainly in a series of dense textures overlaid with shimmering glissandos and rapid melodic figurations, in a "mix of majestic confidence and restless activity" that produces a quality of "breathtaking splendour that is Stockhausen's alone" . The formula of Jubiläum is in the guise of a chorale with a melody containing 15 pitches grouped into five segments of 1 + 2 + 3 + 4 + 5 tones: (C) + (F F) + (G D A) + (C B A E) + (G E B D G). The five segments have durations of 2, 3 (1 + 2), 6 (3 + 1 + 2), 10 (2 + 4 +1 + 3), and 15 (4 + 1 + 2 + 3 + 5) crotchets, and each is followed by a "coloured silence" of 2, 3, 4, 6, and 9 crotchets.

The whole note or semibreve has a note head in the shape of a hollow oval—like a half note (or minim)—but with no note stem (see Figure 1). Since it is equal to four beats in time, it occupies the entire length of a measure in that time signature. Other notes are multiples or fractions of the whole note. For example, a double whole note (or breve) lasts twice the duration of the whole note, a half note lasts one half the duration, and a quarter note (or crotchets) lasts one quarter the duration.

He started work in the insurance business but wrote articles for newspapers until he was offered a job by the publishing company of Ernest Benn Limited to edit periodicals such as The Chemical Age and The Fruit Grocer. In 1928 Benn published Hunt’s first collection of ‘Howlers’ to great success and he followed these up with several other collections in the late 1930s for the publisher Methuen. For example: 'An epistle is the wife of an apostle';Hunt, Cecil and Blampied (1937). Hand-Picked Howlers. London: Methuen 'Two crotchets make a quaker';Hunt, Cecil and Blampied (1938).

Pre-pupal larvae usually move away from their host plants to pupate, as larvae can be cannibalistic. The pupae are suspended in typical Papilionid fashion by crotchets at the end of their abdomen and a girdle extending around the thorax and require a protected site to survive winter. Ornithoptera richmondia is also the only birdwing known to enter a true diapause; artificial introduction of other Ornithoptera species to within the range of O. richmondia could interfere with this mechanism. Predators of the immature stages of O. richmondia include parasitic wasps, predatory mites (Erythraeidae) and some rainforest birds.

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).

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.

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 .

To an untrained ear, the voice-leading in the canon of Variatio IV is hardly noticeable and is imperceptible after 3 bars; the musical structure of the canons in Variatio V, however, is much clearer than any of the other variations. The mirror- inversion between the canonical voices in the sixth is immediately heard, mostly in plain crotchets of the firmus cantus; that is equally true for the conventional canonic parts and their inversions, in the third, second and ninth. In the third and ninth canons, the chorale melody is initially played reflected: the pleasure and anticipation of the listener is enhanced by hearing the true melody afterwards. In the autograph manuscript version, BWV 769a, the sequence of Variatio II and then Variatio V makes it much easier to follow the canonic parts.

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.

1 some forms, like Balboa, developed within Euro- American or other ethnic group communities. Dances such as the Black Bottom, Charleston, Shag, and Tap Dance travelled north with Dixieland jazz to New York, Kansas City, and Chicago in the Great Migration (African American) of the 1920s, where rural blacks travelled to escape persecution, Jim Crow laws, lynching and unemployment in the South (during the Great Depression). Swinging jazz music features the syncopated timing associated with African American and West African music and dance—a combination of crotchets and quavers which many swing dancers interpret as 'triple steps' and 'steps' — yet also introduces changes in the way these rhythms were played—a distinct delay or 'relaxed' approach to timing. Swing dance is now found globally, with great variety in their preferences for particular dances.

Square brackets—also called crotchets or simply brackets (US)—are often used to insert explanatory material or to mark where a [word or] passage was omitted from an original material by someone other than the original author, or to mark modifications in quotations.The Chicago Manual of Style, 15th ed., The University of Chicago Press, 2003, §6.104 A bracketed ellipsis, [...], is often used to indicate omitted material: "I'd like to thank [several unimportant people] for their tolerance [...]" Bracketed comments inserted into a quote indicate where the original has been modified for clarity: "I appreciate it [the honor], but I must refuse", and "the future of psionics [see definition] is in doubt". Or one can quote the original statement "I hate to do laundry" with a (sometimes grammatical) modification inserted: He "hate[s] to do laundry".

The type of musical notation varies a great deal by genre or style of music. In most classical music, the melody and accompaniment parts (if present) are notated on the lines of a staff using round note heads. In classical sheet music, the staff typically contains: # a clef, such as bass clef or treble clef # a key signature indicating the key—for instance, a key signature with three sharps is typically used for the key of either A major or F minor # a time signature, which typically has two numbers aligned vertically with the bottom number indicating the note value that represents one beat and the top number indicating how many beats are in a bar—for instance, a time signature of indicates that there are two quarter notes (crotchets) per bar. Most songs and pieces from the Classical period (ca.

A melody or series of notes is augmented if the lengths of the notes are prolonged; augmentation is thus the opposite of diminution, where note values are shortened. A melody originally consisting of four quavers (eighth notes) for example, is augmented if it later appears with four crotchets (quarter notes) instead. This technique is often used in contrapuntal music, as in the "canon by augmentation" ("per augmentationem"), in which the notes in the following voice or voices are longer than those in the leading voice, usually twice the original length. The music of Johann Sebastian Bach provides examples of this application:Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5 Other ratios of augmentation, such as 1:3 (tripled note values) and 1:4 (quadrupled note values), are also possible.

His notable successes while MD of CBS Songs include being responsible for helping to launch the UK career of Billy Joel after convincing CBS USA to release the rights to his hit song "Just the Way You Are", being heavily involved with Jeff Wayne's smash hit concept album The War of The Worlds and Art Garfunkel's "Bright Eyes" for the film Watership Down which reached number 1 in the United Kingdom, Ireland and in the Netherlands and which sold over 1 million copies worldwide in 1979. In his memoirs, Beadle noted of his time as MD of CBS Songs "I had never really settled at CBS. To me music was written in crotchets...CBS wrote it in dollar signs!" After leaving CBS, Beadle briefly became managing director of music publishing at MAM Corporation controlling the interests of artists including Tom Jones, Engelbert Humperdinck and Gilbert O'Sullivan.

An example of modern musical notation: Prelude, Op. 28, No. 7, by Frédéric Chopin Modern music notation is used by musicians of many different genres throughout the world. The staff acts as a framework upon which pitches are indicated by placing oval noteheads on the staff lines or between the lines. The pitch of the oval musical noteheads can be modified by accidentals. The duration (note length) is shown with different note values, which can be indicated by the notehead being a stemless hollow oval (a whole note or semibreve), a hollow rectangle or stemless hollow oval with one or two vertical lines on either side (double whole note or breve), a stemmed hollow oval (a half note or minim), or solid oval using stems to indicate quarter notes (crotchets) and stems with added flags or beams to indicate smaller subdivisions, and additional symbols such as dots and ties which lengthen the duration of a note.

Thirteen-note tone row and its inversion. Everything in the work is based on this row and, in addition, it is used to define the large-scale structure of the piece by providing a series of tonics by means of the ring modulation. The prime form of the row is used in piano I's oscillator, the inversion in piano II's oscillator, with one note from each row form in each of the work's thirteen sections (; ; ; ). The "mantra" (melody formula) is made of an upper and lower voice; it is divided temporally into 4 segments with rests of 3, 2, 1, and 4 crotchets' duration following the segments. The 13 notes of the mantra's upper voice form a 12-tone row where the 13th note returns to the first note A. The lower voice consists of an intervallic inversion of the upper voice with transposed segments: the first segment of the lower voice corresponds to the inversion of second segment of the upper voice and vice versa; similarly, the third and fourth segments in the inverted voice are also exchanged .