"Semiquaver" Quotes from Famous Books
 ... brace; bar, rest; appoggiato[obs3], appoggiatura[obs3]; acciaccatura[obs3]. note, musical note, notes of a scale; sharp, flat, natural; high note &c.(shrillness) 410; low note &c. 408; interval; semitone; second, third, fourth &c.; diatessaron[obs3]. breve, semibreve[Mus], minim, crotchet, quaver; semiquaver, demisemiquaver, hemidemisemiquaver; sustained note, drone, burden. tonic; key note, leading note, fundamental note; supertonic[obs3], mediant[obs3], dominant; submediant[obs3], subdominant[obs3]; octave, tetrachord[obs3]; ...
— Roget's Thesaurus
... appoggiato^, appoggiatura^; acciaccatura^. note, musical note, notes of a scale; sharp, flat, natural; high note &c (shrillness) 410; low note &c 408; interval; semitone; second, third, fourth &c; diatessaron^. breve, semibreve [Mus.], minim, crotchet, quaver; semiquaver, demisemiquaver, hemidemisemiquaver; sustained note, drone, burden. tonic; key note, leading note, fundamental note; supertonic^, mediant^, dominant; submediant^, subdominant^; octave, tetrachord^; major key, minor key, major scale, minor scale, major mode, minor mode; passage, phrase. concord, ...
— Roget's Thesaurus of English Words and Phrases: Body • Roget
... and nothing but opera. Before many bars have been played, Siegfried and the wakened Brynhild, newly become tenor and soprano, will sing a concerted cadenza; plunge on from that to a magnificent love duet; and end with a precipitous allegro a capella, driven headlong to its end by the impetuous semiquaver triplets of the famous finales to the first act of Don Giovanni or the coda to the Leonore overture, with a specifically contrapuntal theme, points d'orgue, and a high C for ...
— The Perfect Wagnerite - A Commentary on the Niblung's Ring • George Bernard Shaw
... phrase from a motive (No. 11). In No. 19 the development assumes a certain importance. It commences, not, as in most cases, with the opening theme or figure of the first section, but with a group of semiquaver notes which appears later in that section. In No. 20 Scarlatti preserves the rhythm, but with total change of ...
— The Pianoforte Sonata - Its Origin and Development • J.S. Shedlock
... immediately from semiquavers to demisemiquavers, as in this example, or from these to the next in degree—that would be doubling the velocity of the shake all at once, which would be a skip, not a graduation; but you can imagine between a semiquaver and a demisemiquaver intermediate degrees of rapidity, quicker than the one, and slower than the other of these characters; you are therefore to increase in velocity by the same degrees in practising the shake, as in loudness when you make a swell. You must attentively ...
— The Violin - Its Famous Makers and Their Imitators • George Hart |
