One of the mysteries of the English language finally explained.
- ‘Though marked pianissimo and dolce, Piano I intensifies the accompaniment of the bell effects by passing from quadruplet sixteenth to triplet sixteenth to octuplet thirty-second notes at a mezzopiano level before resuming the melody.’
- ‘This music was full of accidentals, thirty-second notes, dotted whole, half, quarter, eighth and sixteenth notes, slurs, ties and key changes.’
- ‘It contains a recurring rhythm of sixteenth, dotted sixteenth and thirty-second notes that is difficult to discern.’
- ‘I think the most difficult our rhythm will ever get is having a thirty-second note somewhere in there.’
- ‘This section, as performed in the aria, is not a traditional cadenza, and the thirty-second notes, which are included exactly as noted in the original score, may disorient young flutists who tend to perform this figure as grace notes.’
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