A grace note is a kind of music notation used to denote several kinds of musical ornaments, usually printed smaller to indicate that it is melodically and harmonically nonessential. When occurring by itself, a single grace note normally indicates the intention of either an appoggiatura or an acciaccatura. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending on interpretation.
In notation a grace note is distinguished from a regular note by print size. A grace note is indicated by printing a note that is much smaller than a regular note, sometimes with a slash through the note stem (if two or more grace notes, there might be a slash through the note stem of the first note but not the subsequent grace note). The presence or absence of a slash through a note stem is often interpreted to indicate the intention of an acciaccatura or an appoggiatura, respectively.
The works of some composers, especially Frédéric Chopin, may contain long series of notes printed in the small type reserved for grace notes simply to show that the amount of time to be taken up by those notes as a whole unit is a subjective matter to be decided by the performer. Such a group of small printed notes may or may not have an accompanying principal note, and so may or may not be considered as grace notes in analysis.
A grace note is a kind of music notation used to denote several kinds of musical ornaments.
Grace note, grace notes, or other variations may also refer to:
"Grace Note" is the second segment of the twenty-third episode of the first season (1985–86) of the television series The Twilight Zone.
It is March 1966 and Rosemarie Miletti is hurrying to her singing lesson. Her teacher, Maestro Barbieri, tries to encourage her more as she tries to break into opera. However, he must comfort her as she explains how, as the oldest child, she must put her family's needs before her own and her sister Mary's leukemia is out of remission. After her lesson and a day of work, Rosemarie comes home to her mother's incessant chatter, getting the family ready for dinner, and checking on Mary.
Mary makes Rosemarie promise that when she becomes a big opera star that she won't forget about her, after she's gone. Rosemarie denies she'll become an opera star but Mary is insistent. At the bedroom window, Mary sees a shooting star and quickly makes a wish for Rosemarie.
After coming home on a stormy day, Rosemarie finds the house empty and a note to come to the hospital. It's Mary and she's been calling for Rosemarie. Mary awakens and tells Rosemarie she wants to show her something. Mary tells her to follow the music and she'll see. Rosemarie walks out the door and down the hall until she finds herself still in the hospital, but so different. She walks outside and sees the date on the newspaper as Saturday, March 22, 1986. She hails a cab and asks to go to the Met. She finds the performance sold out but manages to buy a ticket from a middle-aged woman who had an extra. Arriving at her balcony seat Rosemarie discovers that she is the one singing onstage, to an audience who loves her.
What is it you want from me?
There isn't much I will not do
If it's only company
You know, I might need that too
Won't you
Come anytime - I'm a man of leisure
Come anytime, I await your pleasure
There's nothing new beneath the sun
We've butchered every sacred cow
Don't tell me about all the things you might have done
Just tell me what are you doing now - right now
Come anytime, I won't give you pressure
Come anytime - I can wait forever
And if you can't make up your mind
We could make it up together
Things like this happen every day
Whatever happens, it's O. K
Why be afraid when we've got it made -
I'll never ask you to explain
What is it you want from me?
You won't shock me easily
Maybe it's your heart's desire
Maybe it's your wildest dream
Maybe I'm a gun-for-hire but
Baby, don't we make quite a team, Don't we?
Don't we?
Come anytime (you're so inclined) I won't give you trouble
Come anytime (you're going blind) or you're seeing double
And I have never been the kind who'd want to
Burst your bubble