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The word "crotchet" comes from Old French crochet, meaning 'little hook', diminutive of croc, 'hook', because of the hook used on the note in black notation of the medieval period. As the name implies, a quarter note's duration is one quarter that of a whole note, half the length of a half note, and twice that of an eighth note.
Arthur Ferrante (September 7, 1921, New York City – September 19, 2009, Longboat Key, Florida [1]), and Louis Teicher (August 24, 1924, Wilkes-Barre, Pennsylvania – August 3, 2008, Highlands, North Carolina) met while studying at the Juilliard School of Music in New York in 1930.
Crochet hooks used for Tunisian crochet are elongated and have a stopper at the end of the handle, while double-ended crochet hooks have a hook on both ends of the handle. Tunisian crochet hooks are shaped without a fat thumb grip and thus can hold many loops on the hook at a time without stretching some to different heights than others (Solovan).
In music, four note group patterns, alternately called "four-note digital patterns" [1] or simply "four note patterns", are one of many ways to formulate improvised solos in jazz. "Four-Note Grouping is an improvisation technique that uses major and minor triads along with specific passing notes as a means of generating lines.
[7] [10] [60] [61] [50] Once Lovers became a trio, Berk would write songs on the acoustic guitar and collaborate with Kingan and Ferris to turn them into electropop. [51] [28] [53] [6] Some Lovers songs have been described as having sad lyrics but danceable music. [60] [61] [53] The members of Lovers have been influenced and inspired by various ...
Arguably Beethoven achieved the highest elaboration of this technique; the famous "fate motif" —the pattern of three short notes followed by one long one—that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example.
A pattern using longer notes alternating with shorter notes is sometimes called a dotted rhythm, whether or not it is written as such. Historical examples of music performance practices using unequal rhythms include notes inégales and swing. The precise performance of dotted rhythms can be a complex issue.
The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B ♭), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode . [ 6 ]
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