There is further dialogue between harpsichord and orchestra followed by an extended episode with semiquaver triplet passagework in the relative minor key, F sharp minor.
42.
The characteristic motif of 4 semiquavers in the third beat has already been heard in the countersubject of the first section and in the second subject.
43.
Passing by the abbey of the sexually prolific Semiquavers, and the Elephants and monstrous Hearsay of Satin Island, they come to the realms of darkness.
44.
King's bass playing style is largely based on continuous 16th notes ( aka semiquavers ), sometimes described as " machine-gun " style.
45.
The semiquaver figures, sometimes in parallel thirds or sixths, run continuously throughout the upper parts, including the soprano part, further obscuring the melody.
46.
Beneath the melody in a combination of four different motifs, the inner parts wind sinuously in an uninterrupted line of semiquavers, moving chromatically in steps.
47.
Others use the " crotchet-minim " scheme, while others use the " dotted quaver-semiquaver-crotchet-quaver-quaver " scheme.
48.
Double-time : notice the snare moves to the " & " beats while the hi-hat begins to subdivide sixteenth notes ( semiquavers ).
49.
Throughout the first movement the harpsichord part also has several episodes with " perfidia " the same half bar semiquaver patterns repeated over a prolonged period.
50.
This culminates in a sequence of arpeggiated semiquaver chords in both hands, to be played " fortissimo " and " staccatissimo ".
