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Respondent C commented "I was always taught to count triplets by saying 'victory'", then "a triplet followed by a crotchet would be 'victory V'".
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'.
Davies's MM here as reprinted in Cobbett's seems to include a mistake, as it is given in crotchets instead of dotted crotchets; I assume that the latter was intended.
In the facsimiles presented here, and in his edition - which seems to be reliable in this regard - it is very clear that Weckmann goes out of his way to beam semiquavers (for example) together in crotchet, and sometimes minim, units.
All I heard was honesty in booming crotchets and quavers and giggles en masse as the ground quivered under my concrete feet.
Whatever you need to compartmentalise music and work out crotchets and quavers is the same thing you need to do maths.
Literal reading of the dotted crotchets in bars 1 and 2 (viola, violin II) would give rise to unprepared dissonances at the last quaver of each bar, hardly characteristic of the sensitive Baroque treatment of dissonance.
Diversi autori (1548)) reintroduced the time signature c that had been abandoned earlier in the century, making a point of using mainly crotchets, quavers and semiquavers and calling it a note nere (`with black notes').
I am uncomfortable with such a view, since it assumes an instinct that functions precisely over the remarkable span of 144 crotchets.
3) the ninth segment of the tune is stated several times, the first three in proportions of 3, 2 and 1 crotchets (the original tenor appears as illus.
Gallus frequently places syllables on crotchets and uses quaver runs, so that the tactus is often as much on the minim as on the semibreve.
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.