crotchet

(redirected from crotchets)
Also found in: Dictionary, Encyclopedia.
Graphic Thesaurus  🔍
Display ON
Animation ON
Legend
Synonym
Antonym
Related
  • noun

Synonyms for crotchet

a sharp curve or crook

Synonyms

a musical note having the time value of a quarter of a whole note

a strange attitude or habit

a small tool or hooklike implement

Related Words

References in periodicals archive ?
These were 'beau-ti-ful' as a guide for playing triplets; 'Ams-ter-dam' to represent a dotted crotchet, quaver, crotchet rhythm; 'an elephant with a wooden leg' for uneven tempo and 'a bunch of grapes' representing hand shape for playing.
The three pieces reviewed were Clockwork Calypso, Creepy Crotchets and Dragon Dance.
Yet Lyttleton isn't all crotchets; he also produces some cracking anecdotes: Old Maugham, talking to a girls' school about the art of writing short stories, told them that the essential ingredients were religion, sex, mystery, high rank, non-literary language, and brevity.
He writes from within the Catholic context and with particular crotchets about the modern scene with which one may quarrel, but also with exemplary intelligence, energy, and what artists are inclined to call a good crap detector.
Diversi autori (1548)) reintroduced the time signature c that had been abandoned earlier in the century, making a point of using mainly crotchets, quavers and semiquavers and calling it a note nere (`with black notes').
I am uncomfortable with such a view, since it assumes an instinct that functions precisely over the remarkable span of 144 crotchets. One could also claim that the GS appearance in these early works was coincidental.
Whatever you need to compartmentalise music and work out crotchets and quavers is the same thing you need to do maths."
In the concluding passage (ex.3) the ninth segment of the tune is stated several times, the first three in proportions of 3, 2 and 1 crotchets (the original tenor appears as illus.1).
Gallus frequently places syllables on crotchets and uses quaver runs, so that the tactus is often as much on the minim as on the semibreve.
Equally 'minimal' characteristics are the limited rhythmic vocabulary (lines comprising little more than crotchets and minims are very much the norm), the sparseness of performance indications, and either the complete absence of dynamic marks or their confinement to effecting a single large-scale crescendo and diminuendo across the course of a piece.
When discussing how the schlag was subdivided into various note values, Neusidler included four crotchets notated by four strokes with two flags beamed, called a long ladder (leitterlein) or complete run (ganz laiflein).
An example is the modified transposition of the falling diatessaron (a' -- g'--f'--e') upwards by a minor third to [circa]", which Morley develops independently of Dowland at bars 4--5 by adding a prefatory minim upbeat (G), and again at the start of the second strain (bar 17), where he enlivens the original prefix (minim G becomes crotchets G--A--G) and shortens the stepwise descent of the diatessaron to a third ([circa]" --a').
Palestrina's response to the text is both sensitive (a wonderful passage at the end of Beati omnes paints the word `pacem' (`peace') by slowing the rate of musical change, using scalic motives in minims rather than the crotchets more typical in such fully scored sections) and, in one case, punning: in Beati omnes there is a rather odd passage of perfect mensuration setting the concluding words of a verse of the psalm, which was presumably prompted by the fact that those words were `in circuitu mensae tuae' (`around thy table'), `circuitu' suggesting the circle sign which represented perfect mensuration.
In these works (of which Petre amas me can serve as an example) crotchets appear most frequently in conventional fashion as melismatic runs of two, four, or six notes [ILLUSTRATION FOR EX.1 OMITTED], but are occasionally used on repeated notes for syllabic declamation of unstressed syllables, as at the word 'clarificaturus' in ex.1 (bar 76).
The temptation (for instance in the second movement, repeat of bars 51-8) is clearly too much for him, particularly in view of his instrument's inability to sustain the right-hand crotchets; the twiddles which Levin adds are very beautiful, but on a disc for public consumption he should have kept them to himself.