In music notation, a sixty-fourth note (North American), or hemidemisemiquaver or semidemisemiquaver (British), sometimes called a half-thirty-second note,[1] is a note played for half the duration of a thirty-second note (or demisemiquaver), hence the name. It first occurs in the late 17th century and, apart from rare occurrences of hundred twenty-eighth notes (semihemidemisemiquavers) and two hundred fifty-sixth notes (demisemihemidemisemiquavers), it is the shortest value found in musical notation.[2]
Figure 1
Sixty-fourth notes are notated with a filled-in oval notehead and a straight note stem with four flags. The stem is drawn to the left of the notehead going downward when the note is above or on the middle line of the staff. When the notehead is below the middle line the stem is drawn to the right of the notehead going upward. A single 64th note is always stemmed with flags, while two or more are usually beamed in groups.[3]
Figure 2: Sixty-fourth notes beamed together
A similar, but rarely encountered symbol is the sixty-fourth rest (or hemidemisemiquaver rest, shown in figure 1) which denotes silence for the same duration as a sixty-fourth note.
Notes shorter than a sixty-fourth note are very rarely used, though the hundred twenty-eighth note—otherwise known as the semihemidemisemiquaver[4]—and even shorter notes, are occasionally found.
Burrowes, John Freckleton. 1874. Burrowes' Piano-forte Primer: Containing the Rudiments of Music Adapted for Either Private Tuition or Teaching in Classes Together with a Guide to Practice, new edition, revised and modernized, with important additions, by L. H. Southard. Boston and New York: Oliver Ditson.
Gerou, Tom, and Linda Lusk. 1996. Essential Dictionary of Music Notation. Los Angeles: Alfred Publishing. ISBN978-0-88284-730-6
Haas, David. 2011. "Shostakovich’s Second Piano Sonata: A Composition Recital in Three Styles". In The Cambridge Companion to Shostakovich, edited by Pauline Fairclough and David Fanning, 95–114. Cambridge Companions to Music. Cambridge and New York: Cambridge University Press. ISBN978-1-139-00195-3. doi:10.1017/CCOL9780521842204.006. "The listener is right to suspect a Baroque reference when a double-dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornament the theme" (112).
Taylor, Eric. The Associated Board Guide to Music Theory (Part 1) (England: The Associated Board of the Royal Schools of Music (Publishing) Ltd, 1989) Chapter 3 (Continuing with Rhythm), pp. 15–20.
February 16, 2024
sixty, fourth, note, music, notation, sixty, fourth, note, north, american, hemidemisemiquaver, semidemisemiquaver, british, sometimes, called, half, thirty, second, note, note, played, half, duration, thirty, second, note, demisemiquaver, hence, name, first, . In music notation a sixty fourth note North American or hemidemisemiquaver or semidemisemiquaver British sometimes called a half thirty second note 1 is a note played for half the duration of a thirty second note or demisemiquaver hence the name It first occurs in the late 17th century and apart from rare occurrences of hundred twenty eighth notes semihemidemisemiquavers and two hundred fifty sixth notes demisemihemidemisemiquavers it is the shortest value found in musical notation 2 Figure 1Sixty fourth notes are notated with a filled in oval notehead and a straight note stem with four flags The stem is drawn to the left of the notehead going downward when the note is above or on the middle line of the staff When the notehead is below the middle line the stem is drawn to the right of the notehead going upward A single 64th note is always stemmed with flags while two or more are usually beamed in groups 3 Figure 2 Sixty fourth notes beamed togetherA similar but rarely encountered symbol is the sixty fourth rest or hemidemisemiquaver rest shown in figure 1 which denotes silence for the same duration as a sixty fourth note Notes shorter than a sixty fourth note are very rarely used though the hundred twenty eighth note otherwise known as the semihemidemisemiquaver 4 and even shorter notes are occasionally found See also editList of musical symbolsReferences edit Burrowes 1874 42 Morehen 2001 Gerou and Lusk 1996 p 211 Haas 2011 112 Sources Burrowes John Freckleton 1874 Burrowes Piano forte Primer Containing the Rudiments of Music Adapted for Either Private Tuition or Teaching in Classes Together with a Guide to Practice new edition revised and modernized with important additions by L H Southard Boston and New York Oliver Ditson Gerou Tom and Linda Lusk 1996 Essential Dictionary of Music Notation Los Angeles Alfred Publishing ISBN 978 0 88284 730 6 Haas David 2011 Shostakovich s Second Piano Sonata A Composition Recital in Three Styles In The Cambridge Companion to Shostakovich edited by Pauline Fairclough and David Fanning 95 114 Cambridge Companions to Music Cambridge and New York Cambridge University Press ISBN 978 1 139 00195 3 doi 10 1017 CCOL9780521842204 006 The listener is right to suspect a Baroque reference when a double dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornament the theme 112 Morehen John 2001 Hemidemisemiquaver The New Grove Dictionary of Music and Musicians second edition edited by Stanley Sadie and John Tyrrell London Macmillan Further reading editTaylor Eric The Associated Board Guide to Music Theory Part 1 England The Associated Board of the Royal Schools of Music Publishing Ltd 1989 Chapter 3 Continuing with Rhythm pp 15 20 Retrieved from https en wikipedia org w index php title Sixty fourth note amp oldid 1183451525, wikipedia, wiki, book, books, library,
