quaver

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quaver

Music a note having the time value of an eighth of a semibreve
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In fact, I changed the two eighth notes of beat two in bar one to a sixteenth note tied to an eighth note and a sixteenth note.
* Couchiching Suite, by John Herberman (Grade 4) Eighth Note Publications
The guide tone line occurs as an eighth note anticipation of each chord change followed by the descending arpeggio pattern.
At bar 102, the author changes from 4/4 to 2/4, and this is a transition bar that breaks the metrical continuity and in which only two eighth notes appear in the second beat in the part of the piano.
These downbeats can be viewed as arising from some combination of four principles (see Examples 2 and 3): (1) the second note of semitone melodic motion, either ascending or descending, is usually placed on a downbeat; (2) measures are often preceded by an eighth-note anacrusis; (3) the coincidence of two or more rhythmic strands on an eighth note is marked by a chordal articulation with as many pitches as there are coinciding strands (see boxes in Example 3), and these chords are usually placed on downbeats since they sound accented relative to single-note articulations; and (4) the harmonies across barlines often present dominant-tonic motion, with the tonic sonority falling on a downbeat (see horizontal bracket overlays on Example 2).
While the horn and the piano are still leading toward beat two of the measure, the violin has an eighth note pickup into beat one of measure 9.
The final quarter-note and eighth note of the last third example on p.
The duration scheme of a dotted quarter note, followed by an eighth note and a quarter note, creates a reordering scheme expressed by the number series (312).
Note values are limited (nothing shorter than an eighth note) and I allow students to play the rhythms as performed by the recording artist.
Most sections of "A Murmur" are characterized by a different rhythmic pattern in the marimba; however, the characteristic rhythmic pattern of A" is the same as A, four sixteenth notes followed by an eighth note. The marimba in the B section is distinguished by twelve sixteenth notes with tenuto markings that emphasize the first, fifth, seventh, and tenth sixteenth notes.
101--a sixteenth grace note preceding a dotted quarter note in a measure of [TEXT NOT REPRODUCIBLE IN ASCII] time--should be "performed as a quarter note with the following dotted quarter note performed as an eighth note." Where is the documentation for this assertion?
If, for example, we assign the number 1 to the duration of the beat in Example 3a - a quarter note - and all other durations in the rhythm receive values based on their proportional relations to a quarter note - one half for an eighth note and one sixth for a triplet sixteenth note - the proportional representation of the rhythm becomes