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A quarter note (crotchet) with stem pointing up, a quarter note with stem pointing down, and a quarter rest
Four quarter notes
Whole noteHalf noteQuarter noteEighth noteSixteenth noteThirty-second note
Comparison of duple note values: whole note = 2×half note, etc.
Drum pattern, quarter notes on bass and snare,
accompanied by ride patterns of various
duple lengths from whole note to 128th (all at quarter note=60)
Audio content icon1ⓘ 2ⓘ 4ⓘ 8ⓘ
16ⓘ 32ⓘ 64ⓘ 128ⓘ

A quarter note (AmE) or crotchet (BrE) (/ˈkrɒtʃɪt/) is a musical note played for one quarter of the duration of a whole note (or semibreve). Quarter notes are notated with a filled-in oval note head and a straight, flagless stem. The stem usually points upwards if it is below the middle line of the staff, and downwards if it is on or above the middle line. An upward stem is placed on the right side of the notehead, a downward stem is placed on the left (see image). The Unicode symbol is U+2669 (♩).

A quarter rest (or crotchet rest) denotes a silence of the same duration as a quarter note or crotchet. It is notated with the symbol . In some older music it was notated with symbol .[a][1]

History

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The quarter note equates to the semiminima ('half minim') of mensural notation. 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. It represents one beat in a bar of 4
4 time. The term "quarter note" is a calque (loan-translation) of the German term Viertelnote.

In the Romance languages of Catalan, French, Galician, and Spanish, the name of this note and its equivalent rest is derived from the Latin negra meaning 'black'—as the semiminima was the longest note to be colored in mensural white notation. This is still true of the note's modern form. The Bulgarian, Chinese, Croatian, Czech, Japanese, Korean, Norwegian, Polish, Russian, Serbian and Slovak names mean "quarter" (for the note) and "quarter's pause" (for the rest).

See also

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Notes

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Quarter note

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from Grokipedia
A quarter note, known as a crotchet in British English, is a fundamental element of musical notation representing a duration equal to one-fourth of a whole note, or one beat in common 4/4 time signatures. It is visually depicted as a filled-in oval note head attached to a straight vertical stem, usually ascending from the right side of the head when below the middle line of the staff or descending from the left when above. This note value serves as the primary rhythmic building block in much of Western music, where four quarter notes typically fill one measure in 4/4 time, the most prevalent meter. In the broader system of note durations, the quarter note equates to two eighth notes or half a , enabling composers to construct varied rhythms by combining it with other values like whole notes (four beats), half notes (two beats), and smaller subdivisions such as eighth or sixteenth notes. Its corresponding rest, a distinctive "squiggly" or curved line symbol derived from medieval , provides silence for the same duration, essential for phrasing and articulation in performances. Historically, the quarter note evolved during the period of , where it emerged as the semiminima—a smaller unit than the or semibreve—gaining its modern filled-head form by the 17th century as shifted toward more precise rhythmic measurement in common time. Today, it underpins genres from classical to , with its beat often serving as the for counting and .

Notation and Appearance

Standard Symbol

The standard symbol for a quarter note features a solid black, oval-shaped , which is elliptical rather than perfectly round and slightly tilted upward toward the right for legibility. This filled distinguishes it from longer-duration notes like the , which uses an open outline but the same stem attachment. Attached to the is a straight, vertical stem with no flag or beam when the quarter note appears in isolation. The stem connects to the right side of the for upward-pointing stems and to the left side for downward-pointing ones, extending a uniform length of one —equivalent to 3.5 stave spaces—from the 's center. Stem direction follows conventional placement rules to maintain clarity on the staff: in the treble clef, stems point upward (from the right) for notes on or below the middle line (B4), and downward (from the left) for notes on or above it; the same principle applies in the bass clef relative to its middle line (D3). For instance, an isolated quarter note on the treble clef's middle line (B4) would show a filled notehead with an upward stem extending to the equivalent of B5, while a quarter note on the space below (A4) would have an upward stem reaching to approximately A5. In bass clef, a quarter note on the middle line (D3) uses an upward stem to about D4, and one below on the C3 space employs an upward stem toward C4.

Stem and Flag Variations

In music notation, beaming primarily applies to eighth notes and shorter durations, where horizontal beams connect the vertical stems to replace individual and indicate rhythmic grouping aligned with beats. For quarter notes, which represent a single beat in common time signatures like 4/4, stems remain unconnected by beams and stand individually, ensuring clarity in beat structure. Primary beams link stems horizontally across notes within a single beat, such as two eighth notes per quarter-note beat in 4/4 time, while secondary beams may subdivide further for sixteenth notes without crossing bar lines or the measure's center. Stem direction follows established conventions to enhance readability and distinguish . In single-voice on a staff, stems point upward from the right side of the for pitches below the middle line, and downward from the left side for pitches above the middle line. In polyphonic scores, the upper voice typically uses upward stems regardless of pitch position, while the lower voice uses downward stems, with exceptions applied to avoid stem collisions or to prioritize legibility in complex textures. Engraving standards for printed notation specify uniform stem characteristics to ensure professional appearance, with stem thickness typically set at 0.1 to 1/8 of a staff space to match or slightly exceed staff line width for visual balance. Stems extend 3.5 spaces from the , adjusting for ledger lines or beam positions. In contrast, handwritten notation often exhibits variations, such as inconsistent stem thickness due to pen pressure, occasional slanting from freehand drawing, and less precise alignment compared to the rigid uniformity of printed or digitally engraved scores. Special cases arise in avant-garde or experimental scores, where stems may be angled or stylized to convey non-traditional elements like spatial orientation or performative gestures, diverging from vertical norms. Software rendering introduces further variations; for instance, Finale allows granular adjustments to stem properties and beam angles, while Sibelius employs more automated algorithms for stem direction and beaming, potentially resulting in differing default thicknesses or lengths across platforms. Beaming conventions adapt to time signatures, affecting stem connections in groups equivalent to quarter-note durations. In 4/4 time, stems of two eighth notes are connected by a primary beam per quarter beat, forming pairs that outline the four beats without spanning the measure's midpoint. In 6/8 time, where the beat is a dotted quarter, stems of three eighth notes connect via beams to delineate the two compound beats, contrasting the even grouping of 4/4 by emphasizing triplet subdivisions. Unlike eighth notes, quarter notes themselves do not use flags or beams, relying solely on their single stem for visual distinction.

Duration and Value

Relative Duration to Other Notes

In musical notation, the quarter note serves as a primary unit of duration, equaling one beat in 4/4 time and representing one-fourth the length of a , also known as a semibreve in British usage. This establishes the quarter note as the baseline for subdividing measures in common time, where a full measure typically accommodates four quarter notes. Relative to other basic note values, two quarter notes combine to form one , while four quarter notes fill one ; conversely, one quarter note divides into two . These relationships create a binary subdivision system, where each successive halves the duration of the previous one: a lasts twice as long as a quarter note, and an lasts half as long. For visual representation, a measure in 4/4 time subdivided into four quarter notes can be notated as | ♩ ♩ ♩ ♩ |, providing an auditory of steady, even beats when performed at a consistent . In fractional terms, with the whole note as the baseline of 1 (or 4/4), the quarter note equates to 14\frac{1}{4}, the to 12\frac{1}{2}, and the to 18\frac{1}{8}. A dotted quarter note extends this value by adding half the quarter note's duration, resulting in 1.5 quarter notes or 38\frac{3}{8} of a , equivalent to three eighth notes. This modification allows for rhythmic variation while maintaining the quarter note's core proportional role.

Role in Rhythmic Patterns

In simple time signatures such as 4/4, the quarter note serves as the primary beat, establishing the fundamental of the music by dividing each measure into four equal units. This role allows quarter notes to form the backbone of rhythmic patterns, providing a steady foundation that performers count as "1, 2, 3, 4" to maintain and alignment across instruments. For instance, in a basic scale exercise ascending in quarter , each note aligns precisely with these beats, reinforcing the meter without subdivision. In compound time signatures like 6/8, the quarter note functions as a subdivision of the primary beat, which is typically a dotted quarter note equivalent to three eighth notes. Here, a dotted fills the measure's six eighth notes, equivalent to three quarter notes (each spanning two eighth notes), creating a flowing, grouped often felt in two pulses rather than six individual ones. This subdivision enables quarter notes to contribute to the layered texture, as seen in simple melodic patterns where they bridge the beats without dominating the compound feel. Quarter notes play a key role in by being placed on off-beats to create accents and propulsion within rhythmic patterns. For example, a quarter note starting on the "and" of beat 2 in 4/4 time displaces emphasis from the , generating tension that resolves on subsequent strong beats. In polyrhythms, quarter notes overlaid with triplets—such as straight quarters against quarter-note triplets—produce a 3:2 , where the triplets divide the space into three parts while quarters maintain even divisions, adding complexity to basic structures. Within simple melodies, quarter notes often appear as anacruses, serving as unstressed pickup notes leading into the to initiate phrases smoothly. Ties involving quarter notes extend their duration across bar lines or beats, allowing seamless connections in scalar passages without interrupting the flow, such as tying a quarter note from the end of one measure to the start of the next. Beaming may group these tied or quarter notes for clarity in performance.

Historical Development

Early Notation Forms

The precursors to the quarter note appeared within the system, which governed the rhythmic structure of polyphonic European vocal music from the late 13th to the early 17th century. This system emphasized precise measurement of note durations through proportional relationships, evolving from earlier modal rhythms to allow greater rhythmic complexity. In early of the 13th to 16th centuries, the minim functioned as the shortest note in perfect tempus, representing a basic unit of division, while the semiminim emerged as its half-value subdivision, serving as an early equivalent to the quarter note in modern terms. The minim was typically depicted as a diamond-shaped note with a stem, and the semiminim as a smaller form with a flag or tail, enabling finer rhythmic articulation in compositions. Franco of Cologne's seminal treatise Ars cantus mensurabilis (c. 1280) profoundly influenced this development by codifying mensural principles, including the proportional relationships between note values like the longa, brevis, and semibrevis, independent of modal constraints. Although Franco focused on ligatures and basic mensuration, his framework paved the way for later distinctions in note forms; by the , void (hollow) notes began appearing for longer durations to contrast with full (filled) notes for shorter ones, enhancing visual and durational clarity. Black mensural notation, dominant from around 1250 to 1450, featured solid, filled-in note heads for all values, but shorter notes like the semiminim were rendered with smaller, denser shapes to denote their brevity. This filled-head convention for diminutive durations directly prefigured the solid black head of the modern quarter note, distinguishing it from longer, eventually voided forms in subsequent white mensural notation. The marked a transitional phase, with white gradually hollowing longer notes while retaining filled heads for shorter ones like the semiminim. Ottaviano Petrucci's pioneering printed edition, Harmonice Musices Odhecaton A (), employed this evolving system and contributed to standardizing stem lengths and proportions, facilitating wider dissemination of consistent notational practices. Illustrative examples of these proto-quarter forms appear in key manuscripts, such as the Codex Squarcialupi (, Biblioteca Medicea Laurenziana, MS Mediceo Palatino 87, c. 1410–1415), which preserves Italian Trecento in black , showcasing semiminims as flagged, filled diamonds within intricate rhythmic patterns.

Modern Standardization

By the 17th century, as music shifted toward more precise rhythmic measurement in common time, the semiminim evolved into the modern quarter note with its filled oval head and straight stem, as seen in works by composers like Claudio Monteverdi. In the early 18th century, composers such as Johann Sebastian Bach played a key role in solidifying the quarter note's form and rhythmic value within Western staff notation. Bach's scores, including The Well-Tempered Clavier (composed 1722 and 1742), consistently employed the quarter note—depicted as a filled oval notehead with a straight stem—as the fundamental beat in both preludes and fugues, promoting its uniform application across polyphonic textures and modulating structures. This practice among Bach and contemporaries like George Frideric Handel helped transition from variable mensural notations to more fixed conventions in printed and manuscript music. Advances in music printing during the late 18th and 19th centuries further standardized the quarter note's visual appearance. The Leipzig firm of Breitkopf & Härtel, established in its modern form in the 1790s under Gottfried Härtel, pioneered a punch system for movable type starting in 1754 under Johann Gottlob Immanuel Breitkopf, which allowed for precise, repeatable production of note symbols including the quarter note's filled head, stem, and optional . This method, widely adopted by European publishers, reduced variations in shape and size that had persisted in earlier hand-engraved or type-printed editions, ensuring consistency in commercial scores. , introduced for music around 1800 by firms like Breitkopf & Härtel, enhanced this by enabling faster replication of detailed notation on stone plates. Terminological standardization diverged along transatlantic lines in the 19th century. In Britain and , the term "crotchet"—derived from the for "little hook," referencing the note's stemmed shape—remained standard, as seen in publications from the Royal Academy of Music. In the United States, music educators like popularized "quarter note" in pedagogical texts, such as his 1830s manuals, to emphasize its durational value relative to the , reflecting a practical focus in American school curricula. This bifurcation persists today, with "quarter note" dominant in North American contexts and "crotchet" in British Commonwealth traditions. By the , the quarter note's conventions extended to atonal and works while retaining traditional durational integrity. In Arnold Schoenberg's (1912), quarter notes structure the Sprechstimme vocal line alongside instrumental parts, providing precise rhythmic guidance for speech-melody without melodic singing, as notated with standard filled heads and stems to maintain exact timing. Modern engraving standards, refined through publishing houses like Breitkopf & Härtel, specify details such as stem lengths (typically one octave's distance), ensuring legibility in both print and emerging digital formats.

Usage Across Genres

In Classical Music

In the Baroque period, quarter notes frequently drove the rhythmic momentum in polyphonic structures such as fugues, where they formed the backbone of contrapuntal entries and sustained the forward propulsion of voices. For instance, in Johann Sebastian Bach's , quarter notes underpin ostinati that provide harmonic stability and rhythmic drive beneath soloistic flourishes, as seen in the continuo lines of Concerto No. 3 in , BWV 1048, where repeating quarter-note patterns in the strings create a foundational pulse for the ensemble interplay. This rhythmic role emphasizes the era's emphasis on steady, motoric motion to support intricate imitative textures. During the Classical era, quarter notes established the essential pulse in , particularly in allegro themes that propel the exposition and development sections. In Wolfgang Amadeus Mozart's symphonies, such as Symphony No. 40 in G minor, K. 550, the first movement's allegro theme relies on quarter-note beats to delineate the tonal contrast between primary and secondary themes, maintaining structural clarity and energetic flow through the orchestral discourse. This pulse not only anchors the form's dramatic narrative but also facilitates the seamless transitions characteristic of Haydn and Mozart's balanced architectures. In the Romantic period, quarter notes took on expressive flexibility through , allowing performers to subtly alter their duration for emotional inflection while preserving the underlying beat. Frédéric Chopin's exemplify this, as in Nocturne in E-flat major, Op. 9 No. 2, where the quarter-note beats in the left-hand serve as a stable referent against which the melodic line applies rubato, creating a sense of ebb and flow in the nocturnal lyricism. In orchestral scoring across these eras, quarter notes in string sections often provided accompaniment, offering harmonic support and rhythmic continuity without overpowering solo or thematic elements. For example, violins and violas frequently play sustained or pulsing quarter notes to underpin woodwind melodies, as in the inner movements of Beethoven's symphonies, enhancing the ensemble's cohesive texture. A notable instance is the opening motif of Beethoven's Symphony No. 5 in C minor, Op. 67, where the iconic four-note figure concludes with a half note equivalent to two tied quarter notes in 2/2 time, establishing the work's fateful rhythmic insistence from the outset. In popular and , the quarter note often forms the foundation of straight grooves in 4/4 time, providing a steady pulse that drives verses and choruses. For instance, the verse in ' "" relies on simple quarter-note chord progressions on and guitar, creating a straightforward, anthemic feel that emphasizes lyrical delivery over complex . Similarly, Green Day's "Boulevard of Broken Dreams" employs quarter-note strumming patterns on guitar, where downstrokes align directly with each beat to build tension and momentum in the song's introspective structure. These patterns are common in rock guitar tabs, where quarter-note strums serve as a beginner-friendly base for rhythmic accompaniment, often notated as four even downstrokes per measure to maintain a driving, even . In , the quarter note establishes the base in swing rhythms, typically within 4/4 time, where it divides the measure into four equal beats that support and comping. Standards like "Autumn Leaves" are performed with this quarter-note framework, but the feel incorporates swing through uneven eighth-note divisions, giving the quarter the role of an underlying, felt beat rather than a strictly even one. notation often marks swing at the start of charts, applying the swing feel to eighth-note pairs for the characteristic "long-short" phrasing, while quarter notes maintain an even across ensemble and solo sections. Funk and hip-hop adapt the quarter note through syncopation, particularly in backbeat patterns that accent beats 2 and 4 for a propulsive groove. James Brown's rhythms, as in "Papa's Got a Brand New Bag," feature snare hits on these quarter-note positions with added and syncopations, creating the tight, interlocking feel that defines 's emphasis on the "one." This backbeat structure influenced hip-hop production, where quarter-note snares provide the core rhythmic anchor, often layered with syncopated bass and percussion to evoke urgency and danceability. In electronic music production, quarter notes are frequently quantized in digital audio workstations (DAWs) like to align rhythms precisely to the grid, ensuring tight synchronization in grid-based tracks. Quantization to quarter-note resolution snaps notes—such as kick drums or synth pulses—to exact beat divisions, facilitating layered patterns in genres like and without human timing variances. Drum patterns in sequencing commonly use quarter-note kicks as the foundational pulse in popular electronic styles, as seen in basic four-on-the-floor beats that repeat every measure for hypnotic repetition.

References

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