They both imply an alla breve time signature; they both use subjects with semibreves and syncopated minims, with a rhythm of constant quavers, rather than constant semi-quavers seen in most of Bach's fugues; they both use chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers.
42.
However, the more popular method is to use a slightly simplified rhythm-symbol notation, such as " o " for a semibreve, / / for a minim, " / " for a crotchet, " . " for quavers, and place them above the characters, while spacing them accordingly.
43.
It was in the opening decades of the next century that music felt in a tactus ( think of the modern time signature ) of two semibreves-to-a-breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.
44.
It was in the opening decades of the next century that music felt in a tactus ( think of the modern time signature ) of two semibreves-to-a-breve began to be as common as that with three semibreves-to-a-breve, as had prevailed prior to that time.
45.
For instance, a breve in prolatio maior, which could be thought of as being composed of two perfect semibreves, could be imperfected by an adjacent minim, taking away one third of one of its two halves, thus reducing its total length from 6 to 5 ( ex . [ j ] ).
46.
Applied to perfect notes ( ex . [ a b ] ), coloration creates the effect of a hemiola : three binary rhythmic groups in the space normally taken up by two ternary ones, but with the next smaller time units ( semibreves in [ a ], minims in [ b ] ) remaining constant.
47.
The basic metrical relationship of a long to a short beat shifted from longa breve in the 13th century, to breve semibreve in the 14th, to semibreve minim by the end of the 15th, and finally to minim semiminim ( i . e ., half and quarter notes, or minim and crotchet ) in modern notation.
48.
Marchetto, building on the innovations of Petrus de Cruce, described a system of division of the breve into 2, 3, 4, 6, 8, 9, or 12 semibreves ( later minims ) with dots ( singular " punctus divisionis " ) indicating breaks at the end of a breve ( however, Marchetto never used a term'punctus divisionis').
49.
Imperfection involving note values two orders apart ( e . g ., a breve by a minim, or a longa by a semibreve ) was called " imperfection of an immediate part " " ( ad partem propinquam ) "; while the ( rarer ) case where it occurred across even greater distances ( e . g ., between a longa and a minim ) was known as " imperfection of a remote part " ( " ad partem remotam ", ex . [ k ] ).
50.
The smallest subdivision is the thirty-second note ( " bissicroma " ), a symbol that Bassano takes pains to explain in his preface " Ai lettori " ( to the readers ) : " intenderete in questa mia opera quadruplicata cio?trentadue al valor de una Semibreve " ( " meant [ to represent ] in this, my work, a " quadruplicata ", which is to say thirty-two to the value of one whole note " ), but most modern interpretations of the piece play the eighth notes faster depending on how many are written into a measure.
