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Sixty-fourth note
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In music notation, a sixty-fourth note (North American), also known as a hemidemisemiquaver or semidemisemiquaver (both used in other Anglosphere countries), 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]
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]
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.
See also
[edit]References
[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
[edit]- 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.
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Sixty-fourth note
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Definition and Duration
Musical Value
The sixty-fourth note, known in British English as a hemidemisemiquaver, possesses a rhythmic value equivalent to one sixty-fourth of a whole note (semibreve).[8] This duration positions it as one of the shortest standard note values in Western music notation, representing a highly subdivided rhythmic unit suitable for rapid passages.[5] Its value derives from the binary subdivision system, where each successive note type halves the duration of the previous one, starting from the whole note.[6] In practical terms, the absolute length of a sixty-fourth note depends on the prevailing time signature and tempo. For example, in 4/4 time—where a quarter note equals one beat—a whole note spans four beats, making the sixty-fourth note equal to 1/16 of a beat.[6] This brevity renders it rare in most compositions, typically reserved for intricate ornamental figures or accelerative effects in virtuoso works.[5] Modifications such as dots or ties can extend the sixty-fourth note's effective duration; a dotted version, for instance, adds half its value, resulting in 3/128 of a whole note.[9] Such alterations allow composers to achieve nuanced rhythmic precision without relying solely on the base value.Relative Lengths
In Western music notation, the sixty-fourth note has a duration equal to one sixty-fourth of a whole note, making it the shortest commonly used note value in the standard binary subdivision system. This system divides note durations by powers of two, allowing for precise rhythmic articulation in complex passages. Each note type is half the length of the preceding one, creating a hierarchical structure that facilitates beaming and grouping in scores.[10] The relative durations of note values, expressed as fractions of a whole note, are summarized in the following table:| Note Value | Relative Duration (to Whole Note) |
|---|---|
| Whole note | 1 |
| Half note | 1/2 |
| Quarter note | 1/4 |
| Eighth note | 1/8 |
| Sixteenth note | 1/16 |
| Thirty-second note | 1/32 |
| Sixty-fourth note | 1/64 |
Notation
Graphic Symbols
The sixty-fourth note, also known as a hemidemisemiquaver in British terminology, is graphically depicted as an oval notehead that is completely filled in (black), connected to a straight vertical stem, and adorned with four flags extending from the stem's endpoint.[6] This filled notehead distinguishes it from longer-duration notes like the half note, which uses an open (white) head.[12] The stem typically measures approximately one octave in length on the staff (about 3.5 spaces) and is positioned to the right of the notehead for upward stems or to the left for downward stems, with direction determined by the note's position relative to the staff's middle line for optimal readability.[10] The four flags are usually curved hooks that slant outward and downward from the stem's top, though straight-line variants exist in some engraving software; each additional flag halves the note's duration from the eighth note's single flag.[12][13] When multiple sixty-fourth notes appear consecutively, they are often beamed together with four horizontal beams connecting the stems, replacing individual flags to enhance clarity and rhythmic grouping; a single beam connects eighth notes, two for sixteenths, three for thirty-seconds, and four for sixty-fourths.[14] This beaming practice follows standards outlined in music engraving guidelines, ensuring the symbol's legibility in complex scores.[10] In rare cases, such as in mensural notation revivals or experimental scores, alternative flag styles may appear, but the standard filled head with four flags or beams remains universal in modern Western notation.[12]Beaming and Stemming
In music notation, the sixty-fourth note, also known as the hemidemisemiquaver, features a filled notehead attached to a stem with four flags when appearing singly, distinguishing it from longer durations by the additional flags that indicate its brief 1/64 duration relative to a whole note.[6] When multiple sixty-fourth notes occur in sequence, flags are replaced by beams to connect their stems, using four parallel horizontal lines to link the group for improved readability and rhythmic clarity.[10] This beaming convention follows the pattern established for shorter notes: eighth notes use one beam, sixteenths two, thirty-seconds three, and sixty-fourths four, ensuring visual distinction by the number of beams.[15] Beaming groups of sixty-fourth notes adhere to standard rhythmic subdivision rules, typically connecting up to 16 notes per quarter-note beat in simple meters like 4/4 to align with the beat's structure, while avoiding spans across bar lines or the measure's midpoint to maintain metric emphasis.[15] In compound meters such as 6/8, groupings adjust to the dotted-quarter beat, potentially linking up to 24 sixty-fourths, with secondary beams often subdividing into smaller sets (e.g., groups of four or eight) for legibility when the full group exceeds eight notes.[15] These beams are positioned at a consistent height relative to the staff, usually about an octave's distance from the noteheads, to facilitate quick scanning by performers.[10] Stemming for sixty-fourth notes follows general conventions: stems extend upward from the right side of the notehead for notes on or below the middle line of the staff, and downward from the left side for those above, with a standard length of approximately 3.5 spaces to accommodate flags or beams.[10] In beamed groups, the direction is determined by the majority position of the noteheads—if most are below the middle line, stems point up; if above, down—to keep the primary beam horizontal and close to the staff center, though the stem of the outermost note in the group may adjust slightly for beam alignment without altering the overall direction.[15] This approach ensures the notation remains balanced and avoids obscuring staff lines, particularly in dense passages of rapid sixty-fourth-note figurations common in virtuosic repertoire.[10]History
Origins in Music Theory
The sixty-fourth note, also known as the hemidemisemiquaver in British English or the semibiscroma (half-biscroma) in Italian mensural terminology, emerged around 1600 as an extension of the proportional note values in Western mensural notation. This development addressed the growing demand for notating rapid ornamental passages (passaggi) and diminutions in both vocal and instrumental music, particularly in Italian practices. Mensural notation, formalized by theorists like Franco of Cologne in the 13th century and expanded by Philippe de Vitry in the 14th, initially limited durations to values such as the semifusa (equivalent to a modern sixteenth note), but rhythmic complexity in Renaissance polyphony necessitated smaller subdivisions. By the 1580s, the biscroma (equivalent to a modern thirty-second note) was introduced, allowing for divisions of the semibreve into 32 equal parts, with the semibiscroma following as a further subdivision into 64 parts.[16] Precursors to the semibiscroma appeared in the late 16th century, with Girolamo dalla Casa's treatise Il vero modo di diminuir (1584), a Venetian cornetto player's manual on ornamentation, featuring examples with up to 32 notes per tactus beat using biscroma figures in quadruple diminutions that approached the rhythmic density of modern 1/64 values. Dalla Casa, a prominent musician at St. Mark's Basilica, illustrated its precursor role in pieces like Rossignolet, where sequences of 144 or even 305 such units demonstrate the push toward virtuosic wind instrument performance. Preceding this, earlier notations from the 1550s, such as Adrian le Roy's lute anthologies, modified the semicroma (sixteenth note) with additional flags to denote finer divisions, and in keyboard works by Antonio Valente (1576), though these were primarily cadential flourishes rather than structural elements. Theorists like Girolamo Diruta in Il Transilvano (1593) further explored smaller subdivisions, bridging vocal diminutions (e.g., Jacopo Peri's Euridice, 1600) and instrumental ensemble music. The earliest explicit uses of the semibiscroma appear in keyboard works by Aurelio Virgiliano (c. 1590–1600) and Claudio Merulo's Toccate (1604), marking its integration beyond mere ornamentation.[16][9] In the 17th century, the sixty-fourth note gained broader adoption amid the transition from mensural to modern bar-line notation, influenced by the stile moderno and the need for precise rhythmic articulation in early Baroque genres. Composers such as Giovanni Bassano (1585) and Dario Castello (1621–1629) employed it in ricercars and sonatas for strings and winds, reaching 64-note figures per measure, while keyboard innovators like Ascanio Mayone and Giovanni Maria Trabaci (1603–1615) introduced the semibiscroma explicitly. French theorist Marin Mersenne's Harmonie universelle (1636) quantified its tempo implications, calculating 64 such notes per common measure to emphasize proportional exactness. This evolution reflected a shift from ornamental to compositional use, with critics like Giulio Caccini (1602) debating its excess in favor of expressive restraint, yet it solidified as a standard by mid-century in treatises across Europe. The symbol—a filled notehead with a stem and four flags—stabilized during this period, deriving from flagged extensions of the fusa and semifusa.[16][1] The terminology for the sixty-fourth note developed later, with "hemidemisemiquaver" first recorded in English in 1853 and "sixty-fourth note" in American usage appearing in 1889, reflecting 19th-century standardization efforts amid global music pedagogy reforms. These names built on earlier Latin-derived prefixes (hemi-, demi-, semi-) from mensural theory, where "quaver" (semiminima) originated around 1576. Despite its Baroque roots, the note value's theoretical foundations trace to 16th-century Italian humanism, prioritizing audible precision over medieval modal ambiguities.[1]Adoption and Evolution
The adoption of the sixty-fourth note emerged in the early 17th century as part of the broader transition from mensural notation to modern bar-based systems, driven by the increasing rhythmic complexity in Baroque music. Earlier mensural practices, refined during the Ars Nova period of the 14th century, had established foundational subdivisions like the minim and semibrevis, but the Baroque era demanded finer granularity to notate rapid figurations and ornamental passages. Shorter note values, including the sixty-fourth note (known as the semibiscroma or hemidemisemiquaver), were introduced to accommodate these needs, with the symbol featuring a filled notehead, stem, and four flags or beams.[17][18][19] By the 18th century, the sixty-fourth note had become more standardized in Western notation, particularly in keyboard and instrumental repertoire where quick scalar runs and contrapuntal textures prevailed. This evolution paralleled the obsolescence of longer values like the maxima and the widespread use of beaming to group smaller notes efficiently, enhancing readability for performers. The note's duration—1/64 of a whole note—facilitated precise expression of tempo variations and idiomatic instrumental techniques, though it remained less common than larger values until the demands of virtuosic music grew.[19][20] The terminology for the sixty-fourth note solidified later; while the symbol predated formal naming, the British term "hemidemisemiquaver" was first recorded in 1853, building on prefixes like "semi-" and "demi-" from earlier note names such as semiquaver (1576) and demisemiquaver (1706). In American usage, "sixty-fourth note" appeared around 1889, reflecting the fractional system's growing acceptance. This linguistic evolution underscored the note's integration into global music education and composition by the 19th century.[1]Usage
In Western Classical Music
In Western classical music, the sixty-fourth note (also known as the hemidemisemiquaver in British terminology) serves primarily to convey rapid articulation, intricate rhythmic subdivision, and virtuosic display, particularly in solo and chamber works from the Baroque and Classical eras. Its brevity—equivalent to one sixty-fourth of a semibreve (whole note)—allows composers to depict fleeting ornamental flourishes, scalar runs, and contrapuntal interweaving without disrupting the underlying pulse. This note value emerged as a tool for expressive precision, enabling performers to navigate complex passages that demand both technical agility and musical phrasing.[21] Baroque composers, especially Johann Sebastian Bach, frequently employed sixty-fourth notes to enhance polyphonic texture and idiomatic instrumental writing. In the Cello Suite No. 6 in D major, BWV 1012, the Allemande (bar 11) features a written-out trill combining a mordent and double Italian trill, articulated through a sequence of thirty-second and sixty-fourth notes that accelerate gradually from B to A across bars 11–12, emphasizing melodic flow over strict metrical division.[22] Bach's use of such notes underscores the era's emphasis on ornamentation as a means of affective expression, where the sixty-fourth note facilitates seamless integration of embellishments into structural motifs.[21] Transitioning to the Classical period, Ludwig van Beethoven expanded the sixty-fourth note's role to heighten dramatic contrast and rhythmic propulsion in his sonatas and symphonies. In the Violin Sonata No. 9 in A major "Kreutzer", Op. 47, a sixty-fourth-note passage in the first movement alternates F-natural and E to ascend a minor sixth from A, building tension through rapid alternation that underscores the work's passionate character.[23] Likewise, in Piano Sonata No. 31 in A-flat major, Op. 110, demisemiquavers (sixty-fourth notes) embellish the Arioso dolente theme, reinforcing harmonic stability while adding lyrical ornamentation that echoes earlier unadorned melodic statements.[24] Beethoven's application often aligns these notes with additive rhythmic tendencies, where they contribute to evolving patterns that transcend simple metric regularity, as seen in rising sixty-fourth-note motifs in various sonata movements.[21] Overall, the sixty-fourth note in this repertoire prioritizes interpretive flexibility, allowing performers to shape its velocity for emotional impact rather than mechanical precision.In Contemporary and Non-Western Contexts
In contemporary classical music, particularly within the New Complexity movement, sixty-fourth notes are employed to articulate intricate polyrhythms, metric modulations, and dense textural layers that challenge performers' precision and interpretive freedom. Composers like Brian Ferneyhough integrate these short durations alongside irregular beaming and micro-accelerations to evoke perceptual ambiguity and structural depth. This notational density serves not merely as a prescriptive tool but as a means to explore the phenomenological limits of performance, prioritizing process over fixed outcomes.[25] Similarly, in mid-20th-century avant-garde compositions, Pierre Boulez utilized the demisemiquaver (sixty-fourth note) as the foundational rhythmic unit in algorithmic structures, generating proportional series of durations to achieve controlled complexity without reliance on traditional meter. Such usage underscores a shift toward rationalized indeterminacy, influencing subsequent generations of spectralist and post-spectralist composers who adapt these values for timbral exploration.[26] In non-Western contexts, sixty-fourth notes appear sporadically in Western-staff transcriptions of traditional repertoires to capture fine-grained rhythmic elaborations that exceed standard subdivisions. For Balinese gamelan music, particularly in the dynamic Gong Kebyar style of the 20th century, transcribers use such notations for rapid, interlocking patterns, which convey kinetic energy in pieces like those analyzed in ethnographic studies. This adaptation highlights the limitations of Western notation for cyclical, ostinato-based systems, often requiring supplementary annotations for isochronous pulses.[27] In jazz, sixty-fourth notes occasionally appear in transcriptions of extremely fast bebop or fusion solos to denote rapid scalar runs and improvisational flourishes, though they are rare due to the genre's emphasis on swing and flexibility over strict notation.[28] Likewise, in South Indian Carnatic music, transcriptions of virtuosic improvisations, such as korvais or fast swara passages, occasionally employ sixty-fourth-note quintuplets to represent micro-ornamentation at rates approaching 20 notes per beat, preserving the architectonic layering of talam cycles. These notations bridge oral traditions with analytical needs, though they risk oversimplifying the fluid, non-metric nuances of live performance in ragam-tanam-pallavi forms. Traditional systems like akshara-based notation avoid such values, favoring mnemonic bols for rhythmic precision.[29]Comparisons
With Other Note Values
The sixty-fourth note, also known as a hemidemisemiquaver in British terminology, has a duration of one sixty-fourth of a whole note, positioning it as one of the shortest note values in common Western music notation, with even shorter values like the 128th note used rarely. This binary subdivision system ensures that each progressively smaller note value halves the duration of the preceding one, creating a hierarchical structure for rhythmic precision. For instance, a single sixty-fourth note lasts half as long as a thirty-second note, one-quarter as long as a sixteenth note, and one-eighth as long as an eighth note.[5][30] To illustrate these relationships clearly, the following table summarizes the relative durations of standard note values, assuming a whole note equals 1 unit of time (typically 4 beats in 4/4 time, though actual tempo varies by composition):| Note Value | Relative Duration (Whole Note = 1) | Number of Notes to Equal One Whole Note |
|---|---|---|
| Whole Note | 1 | 1 |
| Half Note | 1/2 | 2 |
| Quarter Note | 1/4 | 4 |
| Eighth Note | 1/8 | 8 |
| Sixteenth Note | 1/16 | 16 |
| Thirty-Second Note | 1/32 | 32 |
| Sixty-Fourth Note | 1/64 | 64 |
Equivalents in Other Systems
The sixty-fourth note, representing a duration of one sixty-fourth of a whole note in standard Western music notation, maintains a consistent black notehead with two flags or beams but varies in nomenclature across linguistic traditions within the Western classical system. These differences arise from historical and regional preferences in terminology, though the rhythmic value remains equivalent.[32] In American English, it is simply termed the sixty-fourth note, emphasizing its fractional duration relative to the whole note. In contrast, British English uses the more elaborate hemidemisemiquaver, derived from Latin roots indicating progressive subdivisions (hemi- for half, demi- for half again, and semiquaver for the sixteenth note base). French notation refers to it as the quadruple croche, building on the croche (quarter note) with "quadruple" denoting the fourfold subdivision from that base.[32][33] German terminology employs Vierundsechzigstel or Vierundsechzigstelnote, literally translating to "sixty-fourth" in a compound word reflecting the precise division. Italian calls it the semibiscroma, from "semi" (half) and "biscroma" (thirty-second note), or alternatively sessantaquattresimo for a direct numerical reference. In Spanish, it is known as the semifusa, indicating half of the fusa (eighth note) in the subdivision hierarchy.[32] The following table summarizes these equivalents for clarity:| Language/Region | Name for Sixty-Fourth Note |
|---|---|
| American English | Sixty-fourth note |
| British English | Hemidemisemiquaver |
| French | Quadruple croche |
| German | Vierundsechzigstel or Vierundsechzigstelnote |
| Italian | Semibiscroma or sessantaquattresimo |
| Spanish | Semifusa |