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Related to demisemiquaver: sixteenth note
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  • noun

Synonyms for demisemiquaver

a musical note having the time value of a thirty-second of a whole note

References in periodicals archive ?
Preller was, in this respect at least, quite up-to-date: a slower tempo is also necessary for the B minor print, where numerous demisemiquaver tirades give a more pronounced thetic weight to the long notes.
Division one had gone to the Michael Jarvis-trained Wise Little Girl, who had run into a useful rival when second to Silver Pivotal at Wolverhampton on her debut and went one better under a positive ride from Philip Robinson, holding off Demisemiquaver by a neck.
In the exquisite 'Liebesbotschaft', he dispenses with his singing partner altogether, and manages to sustain the voice part quite successfully, even though he takes the demisemiquaver ripples a whisker slower than some listeners may wish.
However, Yates's performance of jupiter cleverly catches the mean between keeping the rondeau subject moving and the demisemiquaver arpeggiated thunderbolts in the final couplet within the bounds of playability.
The notational symbols included semibreves, minims, crotchets, quavers (single, two joined, three joined and marked as a triplet), semiquavers, demisemiquavers, and repeat signs.
This means that Elliott's scores (and Stevens's and Brown's) are littered with copious quavers and semiquavers, and frequently spattered with demisemiquavers.
Grave notes, and half notes, and demisemiquavers, all clinging to the beam of her interior, and ripening after the nine months, to fly forth duly harmonized .
However, vivid demisemiquavers, long flowing lines - every note singing - sonorous suspensions, dramatic rhythm and florid ornamentations also gave emphasis to the imaginative writing Six Dances by the Armenian composer Komitas bemused and mesmerised with plaintive, gently gyrating music; repeated fragments viewed from different angles.
504-5, n-14) observes that Brahms changed the last not of bar 29 to duple-time demisemiquavers in the autograph, thus creating a built-in ritardando; he argues that this supports his proposed 4:3 ratio.
In 'B' sections, however, semi-quaver movement is common, and there are also passages of demisemiquavers.
In these and other instances the irregular beaming of semiquavers and demisemiquavers, often across the beat (or even barline), also imposes an editorial conception of rhythmic organization which may or may not be in accordance with the composer's.