Is there such thing as a 128th note?

Likewise, 128th notes are used in the explicitly notated ornamental runs in the opening Adagio of Bach's g minor Sonata for Unaccompanied Violin (BWV 1001).

en.wikipedia.org - Hundred twenty-eighth note - Wikipedia

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Musical note duration

A hundred twenty-eighth note with stem pointing up, a hundred twenty-eighth note with stem pointing down, and a hundred twenty-eighth rest.

Hundred twenty-eighth notes beamed together.

In music, a hundred twenty-eighth note or semihemidemisemiquaver[1][2] or quasihemidemisemiquaver[3] is a note played for 1⁄128 of the duration of a whole note. It lasts half as long as a sixty-fourth note. It has a total of five flags or beams. Since human pitch perception begins at 20 Hz (1200/minute), then a 128th-note tremolo becomes a single pitch in perception at = 37.5 bpm. A single 128th note is always stemmed with flags, while two or more are usually beamed in groups.[4] Notes this short are very rare in printed music, but not unknown. One reason that notes with many beams are rare is that, for instance, a thirty-second note at = 50 lasts the same amount of time as a sixteenth note at = 100; every note in a piece may be notated as twice as long but last the same amount of time if the tempo is also doubled. They are principally used for brief, rapid sections in slow movements. For example, they occur in the first movement of Beethoven's Pathétique Piano Sonata (Op. 13), to notate rapid scales. Another example is in Mozart's Variations on Je suis Lindor, where many of them are used in the slow twelfth variation.[5][6] Likewise, 128th notes are used in the explicitly notated ornamental runs in the opening Adagio of Bach's g minor Sonata for Unaccompanied Violin (BWV 1001).[7] These five-beamed notes also appear occasionally where a passage is to be performed rapidly, but where the actual tempo is at the discretion of the performer rather than being a strict division of the beat. In such cases, the aggregate time of the notes may not add up exactly to a full measure, and the phrase may be marked with an odd time division to indicate this. Sometimes such notation is made using smaller notes, sized like grace notes. One rare instance where such five-beamed notes occur as acciaccaturas occurs in the final measures of No. 2 of Charles-Valentin Alkan's Trois grandes études, Op. 76. Hundred twenty-eighth rests are also rare, but again not unknown. One is used in Beethoven's Piano Sonata No. 13 "Quasi una fantasia" (bar 24 in the adagio movement) where it is followed by an ascending run of 128th notes.[8]

Are men better pianists?

While adult males are usually outnumbered by women in tertiary institutions and among piano teachers, they dominate the lists of prize winners in major international piano competitions and the ranks of professional pianists.

paskpiano.org - Gender differences in major competitions and performing careers

At elite levels of piano playing, very subtle things will distinguish winners from everyone else – just as in many sports. The more technical barriers a pianist has to overcome, the greater the disadvantage in relation to others with the same ability but without those barriers, of which hand size is clearly one. Other physical factors that could negatively affect a performance, such as stool height, have long been recognised by pianists and dealt with by providing choice. Piano performance can be compared with those sports that require a blend of artistic and technical skills (such as many winter sports). The quality of equipment and clothing and their suitability for the specific needs of the performer can make a difference at the highest levels of competition. Any skier in an international competition would be disadvantaged if his/her skis were too short or too long for the particular event. For elite pianists, competition for performing careers is intense and a high level of technical skill and musicality is taken for granted. A pianist who is able to perform on an instrument most suited to his hand size is likely to perform the advanced repertoire better and with greater security. Many concert pianists launch their careers on the basis of their success in high level piano competitions. While smaller-handed pianists can choose repertoire to suit their hand size, those who sustain a successful performing career (including those who perform in ensembles) are normally expected to play a wide range of repertoire.