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Even if it is not played, in funk the sixteenth note is always felt or implied.
The fill button plays sixteenth note pulses of either the snare or kick as long as it is held down.
An extended sixteenth note accompaniment is offset by a three note reoccurring melodic germ in the right hand.
Often, eighth note triplets are mixed with sixteenth note runs in a single bar.
A series of sixteenth note flourishes ensues in the treble voice.
Dixie employs a single rhythmic motive (two sixteenth note pickups followed by a longer note), which is integrated into long, melodic phrases.
The division consists of a descending half-note melody in the bass opposed by the sixteenth note accompaniment.
It is initially stated by the piano and accompanied by light sixteenth note gestures by the strings, although this is later reversed.
The second violin, on the other hand, has quick sixteenth note slurs which contain many string crossings.
Occasionally, sixteenth notes are swung and played fitting into a sixteenth-note triplet grid.
This is followed by a sudden forte sixteenth note in the beginning of the adagio that shocks the audience.
In funk music this is often done over a sixteenth note pattern with occasional sixteenths undamped.
Prominently featuring the violins, as the title would imply, the opening and closing sections rely on rapid sixteenth note passages, followed by pizzicato playing in the trio.
Instead of eighth notes, sixteenth notes (which also may be given a slight swing) are sometimes played on the hi-hat.
Four sixteenth notes have a double line under the numbers.
