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Study Number 14 is one of several early studies, Numbers 13-19, that were originally grouped together as a set entitled Seven Canonic Studies, and whose rhythms are all derived from cyclic presentations of the following duration series: <n, n+1, n+2, n+1>, where n is a duration of three, four, five, or six eighth notes.
In the A section of "The sun kept setting," Glassock juxtaposes the rhythmically steady seven sixteenth note groupings of the marimba in 14/16 meter against the smooth and floating predominantly eighth note triplet figures of the soprano.
The tied notes in the violin and viola parts surround the midpoint of the excerpt which occurs after the fifth eighth note in measure 2.
Again high on the keyboard, a "Floating" eighth note pattern reminiscent of the piano part of "Patience Brewster" introduces the opening lines "I offer a dance of joy/ Verily, to the Lord.
In both cases of elision absence, the repeated note is redundant--a single quarter or eighth note would have sufficed.
The second half of the movement mirrors the first half, since the rapid decending seventh-chord arpeggios gradually move the piece back into the low register of the instrument using a number of special techniques, Just when the listener expects the piece to continue its perpetual motion, the composer introduces a short section with widely disjointed eighth notes played with slap tongue and portamento.
Let's look at a string of eighth notes in 4/4 time:
Passages work with subdivisions of sixteenth notes and thirty-second notes, dotted thirty-second notes, transitions from eighth notes to triplets and ornaments abound.
In the first piece, Bretan fed Shimon a melody comprised of eighth notes.
16, where the eighth notes constitute the smallest note value and require keen attention to the breath capacity of the singer and the phonemes of the language (Example 2).
Some of the concepts taught include posture, hand position, counting quarter, half, whole, eighth notes and rests, note reading with pre-staff notation and note reading on the grand staff, dynamics and expression marks, legato, staccato, and slur phrasing, and use of the damper pedal.
Laura also explained to her local newspaper in the United States, the Green-field Recorder, that the composition for seven pianos, voice and percussion is full of subtleties which evoke particular strands of the disaster - including one sequence of 144 eighth notes, representing each victim.