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Equally 'minimal' characteristics are the limited rhythmic vocabulary (lines comprising little more than crotchets and minims are very much the norm), the sparseness of performance indications, and either the complete absence of dynamic marks or their confinement to effecting a single large-scale crescendo and diminuendo across the course of a piece.
An example is the modified transposition of the falling diatessaron (a' -- g'--f'--e') upwards by a minor third to [circa]", which Morley develops independently of Dowland at bars 4--5 by adding a prefatory minim upbeat (G), and again at the start of the second strain (bar 17), where he enlivens the original prefix (minim G becomes crotchets G--A--G) and shortens the stepwise descent of the diatessaron to a third ([circa]" --a').
It is true that Pedro de Cristo had made occasional use of syllabic crotchet declamation throughout his career.
These were 'beau-ti-ful' as a guide for playing triplets; 'Ams-ter-dam' to represent a dotted crotchet, quaver, crotchet rhythm; 'an elephant with a wooden leg' for uneven tempo and 'a bunch of grapes' representing hand shape for playing.
73) This means that, unlike the standard beat 1 and beat 3 rock bass drum pattern described above, the bass drum beat on the first crotchet of a 4/4 bar is often omitted, or 'dropped'.
when Anna Champagne was growing up in Connecticut, her mother taught her how to knit, embroider and crotchet.
Hardwicke plays den mother to pic's Emile Hirsch, John Robinson and Victor Rasuk in their commentary, which is given to boyish enthusiasm over Rebecca De Mornay's crotchet bikini or the Malibu girls in the film when the thesps aren't exclaiming over the difficulty of certain skateboard moves.
5, Kaunzinger begins the crescendo hairpin at beat 2 (assumedly as in MS 1) and reports that the hairpin "begins in FE already on the first crotchet in r.
Maybe it's the sawed-off crotchet needle that they slip into the body of the device that discourages writing on the screen or the fear that you'll scratch up the surface.
Instead, in the absence of any other early eighteenth-century London productions he gives us an account of Leveridge's Comic Masque of Pyramus and Thisbe with its characters Semibreve, Crotchet, and Gamut discussing the excesses of Italian Opera, possibly further from the text of Shakespeare than any straight-forward translation.
Moreover, as this ad hoc period structure emerges, the sense of metre itself is redefined when in the sixth bar of dance period 14 (bar 115) the music creates a hemiola (a 3/2 bar instead of 3/4, in effect shifting the beat from a crotchet to a minim), that extends the musical phrase 14a into a fifth bar.
is only 'a little faster' than C (which Sawkins equates with crotchet = 60) seems to have been interpreted by Sawkins as 80 per cent faster (minim = 54 (i.