Bass notes dribbled out of the café as thick as molasses.
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And underneath that, I'm plucking the bass notes with my thumb.
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We added occasional bass notes that didn't exist in the original.
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Bose shines in the low-end, with throaty and richer bass notes.
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Listening to Future's HDNRXX, the bass notes came through exactly as they should.
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The bass notes have an almost guitar-like thrum, percussive and liquid at once.
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These should keep sound in a little better, which will help you hear those bass notes.
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The second layer paid attention to basic harmonic components of the music, particularly the bass notes.
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The pluck of guitar strings pops, and bass notes have the robust thump-thump you want from them.
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It has more bottom to it, as if it has been amped up by a few electric bass notes.
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With minimal setup, it greatly improves the musical experience, delivering bass notes that you’ll otherwise miss out on.
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The effect of the beats, and of the penetrating bass notes of the Ching, completely eludes the video recordings of the event.
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The track "Humain à l'eau" is a rapid succession of variegated bass notes mixed in with various highs such as... an elephant's trumpet.
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The basses were especially impressive on Tuesday as they prolonged eerily steady low bass notes, over which other voices would float and mingle.
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Especially when we're playing as a duo, there's a lot you can do with bass notes and rhythm — you're really controlling the song.
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The strength of bass notes and clarity of vocals made me feel as if I'd scored front-row access to see my favorite band.
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The walls were lit like daylight in high winter, and their boots cracked bass notes on the white floors like they were walking on ice.
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A plinking six-note pattern recurs throughout the song, bolstered by sparse percussion and a few bass notes; harplike arpeggios and cooing voices waft in from above.
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Plinking, overlapping arpeggios and buzzy bass notes make a promising start, and the vocals are carefully acted, but the track runs out of ideas well before it ends.
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The close fit secures the headphones in place and ensures a good seal around my ear, which is essential for isolating exterior noise and for reproducing bass notes well.
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Wooden platforms turn out to be tubs — drums for the dancers to play from the inside, wet to the knees, enjoying the deep plunge and bounce of bass notes.
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The range of human hearing spans roughly from deep bass notes of 0003 hertz (which vibrate against the eardrum 20 times per second) to high squeals of about 16,000 hertz.
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Hendrix's large hands meant that he could use an obscure blues technique: wrapping his thumb around to play the bass notes while freeing up his fingers to jump between the treble strings.
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It sounded more open and full-bodied, and I could clearly hear bass notes that weren't very noticeable when I was listening on the 13-inch MacBook Pro at the same volume.
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But on the drummer Nate Smith's "Kinfolk: Postcards From Everywhere," released this spring, all sorts of sounds participate in building the rhythm: taut but resonant bass notes, clipped guitar playing, zagging saxophone lines.
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If you can hear the warm rumble of low bass notes as cleanly as the chirp of the highest note in Bach's "Cello Suite No.1 in G Major," you've some nicely tuned headphones.
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True, no ballet ever realizes all that's going on in this score, but Mr. McGregor's timing is often remarkably good, especially in the way he catches those bass notes that come like depth charges.
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The RokuTV wireless speakers are going to give you clear, high-fidelity sound with optimal stereo separation, rich bass notes, and soundscapes that will put you right in the middle of all the action.
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If anything though, Reputation — with its subterranean bass notes and lyrical fixations on seduction, alcohol, and the soul-numbing isolation of fame — runs more along the lines of late-night libertines Zayn and the Weeknd.
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It's the kind of pop-infused jam that makes for the perfect alarm clock track–thrumming bass notes, a catchy chorus, and just enough of a reminder of the previous night's magic to lull you from sleep.
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The 3-inch speakers were drowned out for a few seconds, but a few good bass notes within a few seconds kicked out the water and it got back to doing its thing, no worse for wear.
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The FXA9s certainly demonstrate good technical ability by extending to reproduce very deep bass notes and high treble (this wide dynamic range is what makes the multi-armature design appealing), but they don't really do much with that ability.
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By the time he left Coltrane's group in 1965, Mr. Tyner's piano had become one of the distinctive forces in jazz: His pot-stirring left hand pounded heavy bass notes, then topped them off with roving stacks of harmony.
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Greene's bass notes parasitically latch onto the programmed kick, together invoking a mechanized nervousness that steadily builds throughout the LP. To add insult to injury, Streetcleaner finds Broadrick and Greene returning to the sandpaper electronics of the Fall of Because demo.
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When you're enclosed like that, the sounds of other engines get louder, the bass notes of the music in the cars next to you beat like hearts, and your own car's untreated brake problems echo nerve-rackingly off the nearest wall.
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"The Valley," a dreamy waltz that mulls jealousy, mourning and the nature of beauty, layers quiet guitar picking, vocal harmonies and string-section arrangements into hypnotic undulations, over sparse bass notes that alter the song's flow like rocks in a stream.
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The song, plaintively titled "Sex Instruments," is, per the video's YouTube description: ...the first ever song made entirely out of sounds produced by sex toys, including guitars played with vibrators, bass notes from anal beads and strokers for rhythm to name a few.
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Instead of trying to reproduce the deepest bass notes with micro-speakers that simply can't operate at such frequencies, Dirac has designed a system that plays "a combination of artificially generated overtones that are several octaves higher," which fools the human mind into perceiving deep bass.
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It was their first time performing together, and the set moved restively from turbid rumbles on the piano and chattering bass notes from Cooper-Moore's diddley bow to a passage of pulsing insistence, then, finally, to an elegant and bluesy sway as he switched to the flute.
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" Bare-bones drums, a counterpoint of plucked bass notes and a canopy of sustained strings open up space around Ms. Marling's voice in "Soothing," as she informs an unwelcome visitor, "You can't come in/you don't live here any more" but adds, "I banish you with love.
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Geographically separating the highs and lows makes sense (and no other major phone company has tried it), but since the orientation of the tweeter points at my face while the bass notes point away, the bass gets lost, which is a major bummer when your listening to something with a lot of complexity and nuance like Kendrick's untitled unmastered.
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The new album's earthy quiet blesses "True Love Waits" with its most breathless recorded incarnation—a skeletal, deconstructed piano chord fleshed out by bass notes and a splatter of countermelody—and in return, the threadbare directness of the lyric sharpens A Moon Shaped Pool's stark meditations on love to a point, lifting it to the pantheon of great Radiohead closers.
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The number-one spot on the Billboard Hot 100 had been occupied by the peppy chords of The Beatles' "I Want to Hold Your Hand", the twanging arpeggios of The Animals' "The House of the Rising Sun", the pulsing bass notes of The Beach Boys' "I Get Around" and the stonking riff of The Rolling Stones' "(Can't Get No) Satisfaction".
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Album opener "Burn the Witch" bears a striking resemblance to the space age strut of OK Computer, but this is achieved not with electric guitars, but through a section of violins playing spiccato and col legno—techniques where different parts of the bow are bounced off the strings instead of run across them—creating the effect of strummed guitars over the fuzzed out bass notes and electronic drums that comprise the rhythm section.
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Nonharmonic bass notes are bass notes that are not a member of the chord below which they are written. Examples include the Elektra chord.Lawrence Kramer. "Fin-de-siècle Fantasies: Elektra, Degeneration and Sexual Science", Cambridge Opera Journal, Vol.
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It can range from simple drum sequences or bass notes to complex orchestral arrangements.
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As in modern pianos, the hammers are larger in the bass notes than in the treble.
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It is a deep-sounding slit drum, traditionally made out of a hollow tree trunk. It is beaten with sticks, and can produce a small range of bass notes.
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Misadjustment was thus common. The iron sometimes stuck to the magnet if overdriven or misadjusted. The result was a loud 'whack' followed by near silence. Loud bass notes caused end-stopping.
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A bass song is a piece of music that contains low frequency notes, or bass. Bass notes can be acoustic, but within the term "bass song" they are usually synthesized, typically sine waves or very similar.
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In staff notation written for Stradella bass, notes below the center of the bass-clef staff are bass notes, and notes above the center of the staff usually indicate chord buttons. The first instance of a chord is labeled as necessary with "M", "m", "7", or "d" or "dim" to a signify a major, minor, dominant seventh, or diminished seventh chord. Repeated chords are usually only labeled on the first instance. Within this convention, the written octave for bass and chord notes is arbitrary, as is the voicing of the chords.
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Perkins composed the standard "Grooveyard". His playing was influenced by his polio- affected left arm, which he held parallel to the keyboard. He used his elbow to play deep bass notes. He was thus known as "the crab".
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Alfred Music Publishing. . This technique is usually used in a rhythmically simple manner, such as chucking on every beat, or bass notes on down beats and chucking on up beats. Freddie Green and Django Reinhardt are known for this technique.
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1 Africa. "Passi ya boloko" by Franco (c. mid-1950s). From top: lead guitar; rhythm guitar; bass guitar. Banning Eyre distills down the Congolese guitar style to this skeletal figure, where the guide-pattern clave is sounded by the bass notes (notated with downward stems).
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This movement, distinct from all the other movements in the work, is dissonant, commanding, and march-like, due to its driving, motoristic rhythm quite characteristic of a toccata. The repeating syncopated bass notes are a characteristic of this movement, which lasts around a minute.
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When bass notes are played in a musical ensemble such an orchestra, they are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm.
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Duet concertinas are held by placing the hands through a leather strap, with thumbs outside the strap and palms resting on wooden bars. The largest duets play bass notes down to C below the stave, and a competent performer can play solo piano music with little compromise.
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It was mastered by Tom Coyne at Sterling Sound in New York City. According to Janelle Tucknott of Renowned for Sound, the song features "heavy bass notes" and its instrumentation is provided by an electronic keyboard. "Beautiful" was made available for digital purchase on 22 November 2013.
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The deepest of bass notes underpins samples of the unearthly sounds made by emperor penguins in the wild. These creatures can also be seen on the album's cover. Frankland claims that this was a coincidence, with Em:t records providing the image after the track was recorded and named.
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His solos imitated the attack of horn players, contained frequent arpeggios, and utilized much chromaticism. According to author Alan Morrison, "Powell freed the right hand for continuous linear exploration at the expense of developing the left."Morrison, p. 69. His comping often consisted of single bass notes outlining the root and fifth.
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Calibre 50 is a Regional Mexican band founded in the city of Mazatlán, Sinaloa in 2010. Their style is Norteño-Banda, a hybrid of Norteño, which uses an electric bass or tololoche for the low notes and replaces it with a sousaphone (tuba), which is typically used in Banda for the bass notes.
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Some early harpsichords and organs had a short octave in the lowest register. It replaced rarely used bass notes with more widely-used notes. Some early harpsichords used a short octave for the lowest register. The rationale behind this system was that the low notes F and G are seldom needed in early music.
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Generally the pick is used to play bass notes, which are emphasized by increased amplitude, longer duration, and timbral difference. In notation the flatpicked notes are indicated by placing the down bow and up bow symbols (𝆪 and 𝆫) below or next to the notehead of the flatpicked note rather than above the staff or tablature as a whole.
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He attributed this effect to the free interpretation of the fantasy's arpeggios. He used the sound effects of the era's grand piano through differentiated dynamics, accentuating high notes and doubling pedal bass notes. This interpretation became the model for the adagio of Mendelssohn's second sonata for cello and Piano (Op. 58), written from 1841 to 1843.
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"Travis Picking" is a syncopated style of guitar fingerpicking rooted in ragtime music in which alternating chords and bass notes are plucked by the thumb while melodies are simultaneously plucked by the index finger. He was inducted into the Nashville Songwriters Hall of Fame in 1970 and elected to the Country Music Hall of Fame in 1977.
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In instruments exceeding octaves, the length of tubing required for the bass notes exceeds the height of the instrument. Some manufacturers, such as DeMorrow and Malletech, compensate for this by bending the ends of the tubes. This involves soldering smaller straight sections of tubes to form "curved" tubes. Both DeMorrow and Malletech use brass rather than aluminium.
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Technically everything that could go > wrong did go wrong. The tape machine broke down, there were repeated mixing > console failures and the speakers were damaged because of the unusually low > frequencies of the bass notes. After 12 days of this we were completely > knackered. Fortunately, after a two-day break in the countryside a new start > brought a breakthrough.
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Ramin Djawadi composed original music for the series. Original music for the series is composed by Ramin Djawadi, who also worked with showrunner Nolan on Person of Interest. The main theme blends the use of bass notes, light arpeggios and melody, all of which complement the idea of an amusement park. The first season soundtrack was released on December 5, 2016.
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Guitarist Andy Summers came up with the chord "which hits after the bass notes" throughout the song. "Walking on the Moon" was released as the follow-up single to the British single, "Message in a Bottle," in late 1979. The song was the Police's second number-one hit single in the United Kingdom.The Police in the UK Charts , The Official Charts.
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In other words, the treble notes above about c3 are 'sharp,' and the bass notes below about C are 'flat.'"Campbell, Murray and Greated, Clive (1994). The Musician's Guide to Acoustics, p.257-58. . "In a properly tuned instrument the notes will be progressively sharper in the treble compared with the frequencies calculated for a particular tempered scale (Schuck and Young 1943).
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Contrast of register is increased by alternating very prominent high notes and deep bass notes. From bar 12, long drawn-out trills in both hands and from bar 17, raging arpeggios and sequences in the top voice build further towards a climax. Then the last sixteen bars repeat the simple theme – just as if nothing had happened – and it fades away quietly.
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The interest in The Foldaxe by Hank Marvin, guitarist for The Shadows, led Field to be the instigator in 2001 of the reunion of the Shadows.World News Network article 16 July 2004 with photo of Hank Marvin of The Shadows and Roger C. Field holding Foldaxe] Jet Harris of The Shadows addressed Field's intention to do so in the Otago Daily Times after meeting with Field and Bruce Welch near Tilburg in the Netherlands. Harris and Welch supported Field's efforts to influence Hank Marvin to return to the band. Field developed a guitar technique he calls Tap-Picking, a technique of adding additional bass notes to guitar fingerpicking by tapping and pulling-off the bass strings with the left hand at times when the right hand thumbpick and fingers are on the treble strings and cannot play bass notes.
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A Steirische Harmonika The Steirische Harmonika () is a type of bisonoric diatonic button accordion important to the alpine folk music of Austria, the Czech Republic, Slovakia, Slovenia, the German state of Bavaria, and the Italian South Tyrol. The Steirische Harmonika is distinguished from other diatonic button accordions by its typically richer bass notes, and by the presence of one key per scale row that has the same tone on both compression and expansion of the bellows, called a Gleichton. The bass notes earn the distinction Helikonbässe because they use bigger reeds with duralumin reed frames and a special chamber construction that amplifies its bass tones to give it a loud sound reminiscent of a Helicon tuba. The name "Steirische Harmonika" literally translates from German as Styrian accordion; the use of the adjective steirische stems from the Viennese dialect.
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A Yamaha DX-100 keyboard was used for sine wave bass notes on the record. Several of the final mixes on DAT format were almost lost when the tape was mangled badly. That tape was successfully repaired allowing recovery of the mixes for this record. Additional artists: Lenni Jabour (back vox), John Southworth (back vox), Doug Tielli (trombone), Sarah McElcheran (trumpet), Karl Mohr (clarinet, earthmen).
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Most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used. From the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the double bass in most types of popular music, such as rock and roll, blues, and folk.
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The > reason was that we were using the Moog sequencer (all driving bass notes) > for the first time. Just tuning the instrument took several hours each day, > because at the time there were no pre-sets or memory banks. We worked each > day from 11 o'clock in the morning to 2 o'clock at night. By the 11th day we > barely had 6 minutes of music on tape.
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It is notable for its sparse combination of guitar and bass notes in the main riff; Frusciante drew inspiration from "Carnage Visors" by The Cure. After the second chorus, a 16-measure guitar solo is played by Frusciante, along with a modulation to A major. After the solo, the key returns to the original A minor, and a third verse and final chorus is played.
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18 A historian comments that :playing one of the new records on an Orthophonic was a revelation to listeners accustomed to acoustic reproduction: the dramatic increase in volume, the clear sibilants, and, most of all, the amazing reproduction of bass notes. The Orthophonics set the standard in sound reproduction. Backed by advertising which rightly claimed that their sound was vastly superior to any other machine, they sold very well.
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Inside the Doric is a line of circuits labeled with the syllables of solfege, each generating a given tone in a scale. At the far left is a single circuit for the bass notes which shares a circuit board with the solid-state vibrato mechanism. As with many organs of the same vintage, Doric organs often have problems with electrolytic capacitors which overflow or burn out over time.
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The tighter the grip, the higher the note.R. A. Wilson video interview , "An Interview with R. A. Wilson, Manualist", TVLand (video) Bass notes may be produced by squeezing the air pocket out the opposite side, near the pinky finger. Even with years of practice, manualism is very difficult to control. It may be one of the hardest "instruments" in the world to play, and live stage performances are extremely rare.
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Alongside that it features guitar arpeggios, distorted metal bass notes, vocal harmonies and piano trills. The instrumentation is evocative of his previous black metal work. The song references Jack Kerouac and his daughter with Elverum noting a resemblance between Castrée and Jan Kerouac. It also references Elverum's childhood memory of his great-grandfather's funeral in particular the impact of seeing his corpse and a pregnancy scare he exeprienced at age 23.
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The static contrasts with the clear hand claps and bass notes. The next track, "Tell Her Safe" has Blake singing over percussion, with additional light pops and clicks, and a muffled refrain. The song "I Only Know (What I Know Now)" features "twisted" vocals that the BBC likened to the work of Radiohead. "Don't You Think I Do", the final track, has "scattershot keys" and "cascading static" and contains some synthesizer.
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On the modern piano, the una corda pedal makes the hammers of the treble section hit two strings instead of three. In the case of the bass strings, the hammer normally strikes either one or two strings per note. The lowest bass notes on the piano are a single thicker string. For these notes, the action shifts the hammer so that it strikes the string on a different, lesser-used part of the hammer nose.
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Deacon wrote the song for his wife, Veronica Tetzlaff. In this song, he plays a Wurlitzer electric piano in addition to his bass guitar work. The characteristic "bark" of the Wurlitzer's bass notes plays a prominent role in the song. During live performances, a Grand Piano was used rather than an electric, and it would be played by Freddie Mercury, while Deacon played the bass guitar just like in the original recording.
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While this piece is not especially dissonant, it is extremely chromatic, becoming what Liszt's contemporary François-Joseph Fétis called "omnitonic"Biographie universelle des musiciens…, p. 113 in that it lacks any definite feeling for a tonal center.Searle, New Grove 11:11:39. Some critics have suggested, however, that the various underpinnings of the piece—in other words, the main bass notes and melodic elements—work together to imply an underlying tonality of D,Baker, 117.
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The natural keys are covered with ebony and the sharps are rosewood and plated with cow bone. There are 8 stops of metal pipes which are of tin-lead alloy, that provide an amazing versatility of sounds, from soft to bright and full. The Bourdon 16’ and 8’, played with the feet on the pedal board, are made of wood and are used to play the bass notes. There is a total of 636 pipes.
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The theremin and cello has been called the song's "psychedelic ingredient". In his book discussing music of the counterculture era, James Perrone stated that the song represented a type of impressionistic psychedelia, in particular for its cello playing repeated bass notes and its theremin. Professor of American history John Robert Greene named "Good Vibrations" among examples of psychedelic or acid rock. Stebbins wrote that the song was "replete with sunshine [and] psychedelia".
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Mason's cymbals begin faintly, then crescendo as the section continues. Gilmour plays muted guitar notes to match the bassline, which Waters himself begins halfway through the section. Wright plays an organ solo, which lasts through the end of the "build-up". At the end of the "build-up" is a musical climax, where Gilmour plays high guitar notes in A major while the rest of the band plays only the bass notes.
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Le chemin de fer is characterized by rapidly repeating bass notes, difficult to play and exacerbated by the extreme tempo. Le chemin de fer (French for "the railway" or "the railroad"), Op. 27, is a programmatic étude for piano composed by Charles-Valentin Alkan in 1844, frequently cited as the first musical representation of a railway. It is a perpetuum mobile composition at an extremely fast tempo, in D minor, and performance at tempo lasts approximately five minutes.
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A US Navy keyboardist playing his Yamaha keyboard through a large Roland keyboard amp. Since keyboards have a very wide range of pitches, from deep bass notes to very high treble notes, keyboard amplifiers have to provide solid low-frequency sound reproduction and crisp high-frequency sound reproduction. This distinction affects the design of the loudspeakers, the speaker cabinet and the preamplifier and amplifier. They usually include tuned bass reflex ports or vents for increased efficiency at low frequencies.
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"Vince Guaraldi at concord.com The album was very successful, leading Winston to record a follow-up, titled Love Will Come – The Music of Vince Guaraldi, Volume 2, released in early 2010. Mendelson reflected on Guaraldi's contribution to the Peanuts franchise when Winston released his two tribute albums, saying "Several generations have now grown up with Vince Guaraldi's music. If people hear just one or two bass notes of the intro to 'Linus and Lucy', they cheer.
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Thompson makes use of the "pick and fingers" technique (sometimes referred to as "hybrid picking") where he plays bass notes and rhythm with a pick between his first finger and thumb, and adds melody and punctuation by plucking the treble strings with his fingers. He also makes use of different guitar tunings, such as (low to high) CGDGBE, DADGBE, DADGAD, and more. This enables him to adapt traditional songs, as on Strict Tempo! and 1000 Years of Popular Music.
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Example of a simple arpeggio with hybrid picking: bass notes flatpicked and higher notes fingerpicked Hybrid picking is a guitar-playing technique that involves picking with a pick (plectrum) and one or more fingers alternately or simultaneously. Hybrid picking allows guitar players who use a pick to perform music which would normally require fingerstyle playing. It also facilitates wide string leaps (e.g. from the sixth string to the second string, etc.) which might otherwise be quite difficult.
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They then visit a prison, where they show the prisoners a public service announcement-type video and "cleanse" the prisoners. They also cleanse a man in a pub. Rascal and his friend then visit a church, with Rascal dressed like a priest giving a sermon and his friend playing an organ with all its keys taped off apart from the bass notes. This sends the churchgoers into a frenzy, dancing wildly and tearing off their clothes.
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Some electronic keyboards use ported speakers to improve the bass response and sound performance. Pictured here is a Yamaha DGX-202. Bass reflex cabinets have relatively poor transient response, causing "smearing" or a longer resonance of the bass notes. Though the sound coming out of the port may have the same phase of that from the front surface, but it can never be at the same time, thus, the extended bass energy is really noise disguised as signal.
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But Chris Charlesworth praised the "high harmonies, quirky subject matter" and "fat bass and drums that suspend belief". Charlesworth particularly praised Moon's drumming for carrying not just the beat, but also the melody itself, in what he calls "startlingly original fashion". Marsh states that although the song contained little that the band had not done before, it did "what the band did well", giving the "soaring harmonies, enormously fat bass notes, thunderous drumming" and the guitar riffs as examples.
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Driving the song is a pounding piano rhythm of two bass notes alternating on every second beat. The theme of the song is searching for love: "Well, I'm searching, Yeah I'm gonna find her". The refrain is simple variations of this phrase, "Gonna find her, yeah ah, gonna find her". The song was recorded in Los Angeles on February 15, 1957; the backing band included Mike Stoller (piano and arrangement), Barney Kessell (guitar), Ralph Harrison (bass), and Jesse Sailes (drums).
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The marímbula, for example, was used mainly for smaller ensembles because it was not easily heard, whereas the bajo, an electrical bass, could be easily projected and heard over many other instruments. The botijas contained two openings, one at the top and one of the side, and were blown into to create bass notes. To crate specific pitches, they were filled to specific levels with water. Another technique includes inserting a reed into the opening while the player blows into the reed.
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Attorney Mordechai Bass notes on page 7 of his fifteen-page report: "The yard surrounds the school from four directions, and the girls (from both schools) are able to see and play with each other. The (media) portrayal of two completely separate sections of the school yard ... is not true." Allegedly, the Chassidic school built a fence in the play yard; cement walls in the corridor; using separate staff rooms; different dress codes; etc., essentially splitting the school in two.
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The Taurus was originally intended to be part of a larger Moog Music synthesizer ensemble called the Constellation. In addition to the monophonic Taurus, the Constellation would have included two keyboards: the monophonic Lyra and polyphonic Apollo. The intention was that the Apollo and Lyra be played with both hands, while bass notes could be played by foot on the Taurus. The sound shaping controls are protected by a removable plastic window in order to avoid accidental adjustments while playing.
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The following example shows the original ostinato "Afro Blue" bass line. The slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time." "Afro Blue" bass line with main beats indicated by slashed noteheads In 1960 Santamaría went to Havana, Cuba with Willie Bobo to record two albums "Mongo In Havana" and "Bembe y Nuestro Hombre En La Habana." After recording, he returned to New York City to form the charanga orquestra La Sabrosa.
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"Nimrod" from Edward Elgar's Enigma Variations is part of the theme, which was slowed down to six beats per minute with added bass notes to avoid it sounding sentimental. Instrumentation included a double bass and fourteen cellos played in high register. King relayed to Zimmer the sound of a boat engine, which served as a reference for the tempo. Zimmer visited the Dunkirk set for inspiration, taking back a jar of sand, and chose not to view raw footage whilst composing.
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The E.F. Walcker organ is composed of 17 stops spread among two manual keyboards, each with 61 keys, and a keyboard played with the feet to produce low bass notes. All the keyboards are in a console, which is separated and put in front of the organ with sight of the altar. These keyboards control 1,020 pipes of varied length and calibre. The organ is an orchestra in and of itself, with instruments like trumpets, bombards, oboes, clarinets, flutes and human voices.
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Its name comes from the foot pedal keyboard pedals of a pipe organ, which are used to play 16' and 32' sub-bass notes by pressing the pedals with the player's feet. Brasses with a bell do not naturally vibrate at this frequency. A closed cylinder vibrates at only the odd members of its harmonic series. This set of pitches is too sparse to be musically useful for brass instruments; therefore, the bells and mouthpieces of brasses are crafted to adjust these pitches.
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The croaking sound produced by male singers at the start of phrases in American country music is produced by moving from this to the modal register. Within choral music, when true basses are not available, choirs often rely on singers who can "fry" the low bass notes. Singers such as Tim Storms, Mike Holcomb and various other gospel basses use this technique to sing very low tones. Some styles of folk singing showcase the vocal fry register in the female voice.
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Lynda Raymonde during the 2017 Music Festival infront of l'Institut Français du Cameroun - Douala. In 2002, Lynda Raymonde met bassist Remy Ottou who encouraged her to embark on a career without a solo. He taught her her first Bass notes and worked with her on his first compositions. She began her professional career in the cabarets of Yaoundé, notably at Bois d'Ebène where she sang from October 2002 to April 2005, then at Okoumé from April 2005 to September 2006.
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Often the pedal note is simply repeated at intervals. A pedal tone can also be realized with a trill; this is particularly common with inverted pedals. Another method of producing a pedal point on the harpsichord is to repeat the pedal point note (or its octave) on every beat. The rarely seen pedal harpsichord, a harpsichord with a pedal keyboard, makes it easier to perform repeated bass notes on the harpsichord, since both hands are still free to play on the upper manual keyboards.
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For example, the bass player will play eight bass notes per bar rather than the typical "four beats in a bar" approach used in walking basslines. This makes the song feel twice as fast, even though the chords take the same length if time to play. A song that takes 60 seconds to play in regular feel still takes 60 seconds in double-time feel. However, if a song actually went into double time, say, for a repeat, a 60-second song would last for 30 seconds.
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It was soon adopted by other performers, notably by members of the Carter Family. By the early 1970s some players were experimenting with finger-style techniques, where individual fingers of the right hand would pluck specific strings, rather than simply hold a pick and strum chords. Bryan Bowers became a master of this mode of playing, and developed a complex technique utilizing all five fingers of his right hand. This allows him to play independent bass notes, chords, melody, and counter melodies as a soloist.
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Traditionally, one-row instruments have two or four buttons on the bass side, two-row instruments have eight, and three-row instruments twelve. As mentioned above, bass buttons are conventionally arranged in bass-note/chord pairs. Some modern players, particularly in France, are driving a trend towards instruments with more complex bass systems, with as many as 16 or even 18 buttons. Sometimes these more elaborate systems will diverge from the single-action principle, and may feature bass notes only instead of bass-chord pairs of buttons.
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The bass notes of the piece form the root of the mode, while the upper voices oscillate between different modes. K. Robert Schwarz has noted how the style of China Gates is in keeping with the ideas of "process music" of Steve Reich. The piece has a duration of about 4:50 minutes and is written in three parts. In the first part, the modes alternate between A-flat mixolydian and G-sharp aeolian, which sound almost like the major and minor versions of the same key.
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Charles performs jump blues music with his group Ezra Charles' Texas Blues Band (formerly Ezra Charles and the Works) in and around the Houston area. His group is unusual as it does not employ an upright or electric bass. Instead, Charles plays the bass notes via a MIDI device in his piano, which produces a bass note for every piano key played below the "E" below middle "C". In addition to Charles' piano/bass, the group contains a guitar, drums, and a three-piece horn section.
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First, in the broken octave, they allowed an instrument to include deep bass notes while retaining a short, compact keyboard. Second, in older music, tuning was generally not done by equal temperament, which treats note pairs such as A and B as the same pitch. Instead, they were assigned slightly different pitches on enharmonic keyboards (particularly in "meantone temperament"). This allowed certain musical intervals, such as the major third, to sound closer to their ideal just value, hence more closely tuned to just intonation.
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When mandolin orchestras were being organized in numbers, the members became aware of a problem of adding bass to their orchestras. In trying to play the bass range, many mandolin players were reluctant to switch to the contrabass, because they saw its bowed action as an intrusion into their plucked-string world. They faced the problem, however, that mandolin basses were too quiet; it was hard to get forte (loud sound) from them. Furthermore, they didn't get the deep bass notes of the contrabass.
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In the 1990s, standalone electronic MIDI controller pedalboards became widely available. Unlike the Moog Taurus pedalboards, MIDI pedalboards do not produce tones by themselves, but control a MIDI-compatible electronic keyboard or MIDI sequencer. In jazz organ trios, a keyboardist using this type of pedalboard usually connects it to a MIDI-compatible electronic Hammond organ-style keyboard. On modern electronic synthesizers such as the Yamaha Electone, the pedals are not limited to traditional bass notes but may instead produce many different sounds, including high-register tones.
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Some artist shorten the title to Broken Ties or Broken Vows or Broken Hearted Lovers. In February of 1939 on XET Station, Mexico, Sara Carter dedicated the song to her long lost boyfriend Coy Bays, who was in Washington State at the time. On February 20, 1939 Sara Carter and Coy Bayes married at Brackettville, Texas. Mother Maybelle used the Carter Family picking on the song, which was new at the time, the bass notes are played with her thumb and she strums with her other fingers.
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Quite a few orchestra harmonicas are also designed to serve as both bass and chord harmonica, with bass notes next to chord groupings. There are also other chord harmonicas, such as the Chordomonica (which operates similar to a chromatic harmonica), and the junior chord harmonicas (which typically provide six chords). The Suzuki SSCH-56 Compact Chord harmonica is a 48-chord harmonica built in a 14-hole chromatic harmonica enclosure. The first three holes play a major chord on blow and draw, with and without the slide.
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Deep bass notes typically form the root of the chord, and F and G chords were seldom used at this time. In contrast, low C and D, both roots of very common chords, are sorely missed if a harpsichord with lowest key E is tuned to match the keyboard layout. When scholars specify the pitch range of instruments with this kind of short octave, they write "C/E", meaning that the lowest note is a C, played on a key that normally would sound E.
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Joginder Tuteja writing from Rediff.com applauded the "unconventional pairing" of Bhardwaj and Singh: "Both singers are known for their quality output and it is good to hear them together in this offbeat duet". Further mentioning that the lyrics too are "unconventional", Tuteja opined that it "may not become a chartbuster, but it makes for good listening". Suanshu Khurana from The Indian Express mentioned how Sachin–Jigar broke the "monotony of Bharadwaj's folksy voice" by giving her a song where she has to stick to bass notes and not go beyond bass scale.
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It featured rocker switch tabs in place of the Continental's drawbars, and the first 12 notes were a "reversible" bass octave ("Walk" Bass/"Chord" Bass) with typical black-on-white keys. The main keyboard, like the Continental's, was white-on-black. It also featured a separate output for the bass notes, allowing a separate connection into a bass amplifier for "stereo" playing. At introduction, while the Jaguar featured only an "Off/On/Bass Volume" knob in addition to the tabs, its sibling model the "Corinthian" additionally featured a "Contour" (tone) knob.
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Usually the organ accompaniment to the last verse of a hymn tune will be heavier (in musical terms) than the standard harmony. Typically it will include lower or more profound bass notes, which will almost certainly be played on the pedalboard, and more frequent use of secondary dominants, particularly over chromatic movement in the bass. Often there are more notes in each chord—often five or more as opposed to four or fewer in the SATB arrangement. Occasionally the harmony will differ entirely from the standard arrangement in places, giving the melody completely different effect.
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In 1957 Chet Atkins recorded a popular rendition of the song for his album Hi-Fi in Focus. He did so after discussing the matter with Smith, who was pleased with the arrangement. Atkins played his arrangement in A minor, using fingerstyle and including the bass notes A,G,F, and E. This later became the basis for the Ventures' arrangement. Other cover versions include those by the Shadows, Agent Orange, Zapatón, Steve Howe, Glen Campbell, Herb Alpert and the Tijuana Brass, Tommy Leonetti, and the Penguin Cafe Orchestra.
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Plus the drop > in the beginning is mesmerizing. It’s not just that the bass is dropped, > it’s how the bass is dropped. It’s elongated, whining bass notes that just > drape themselves throughout the song. In fact, everything about the song is > really smooth except for Glover’s razor-sharp rapping, making that factor > all the more delightful. > Glover’s got good speed on “Heartbeat” that he doesn’t demonstrate as much > through the rest of the album. But these rhymes are lightning fast, and > what’s so thrilling about them is how smart, witty, and ironic they are.
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Pieces in the new style include Harvest Celebration (, Zhao Yuzhai, 1955), Fighting the Typhoon (, Wang Changyuan, 1965) and the guzheng concerto Fantasia of Miluo River (Li Huanzhi, 1984). A modern playing technique, influenced by Western music, uses the left hand to provide harmony and bass notes; this gives the guzheng a more flexible musical range, permitting harmonic progression. It has its limitations, preventing the subtle ornamentation provided by the left hand in traditional music. Guzheng students who take the Central Conservatory of Music examinations are required to learn traditional and modern pieces.
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A section : In a multi-section song form, such as AB or AABA, the first section. In 32-bar AABA form, the first A section is the first eight bars, and it contains the main melody. accordion : A free-reed instrument with two keyboards played with the hands, in which the sound is produced by pumping a bellows. In the piano accordion, the right hand plays chords and melody lines on a small piano-style keyboard, while the left hand plays bass notes and chords on a button board.
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Graham Simpson (13 October 1943 – 17 April 2012) was a founding member and bassist of Roxy Music, and friend of Bryan Ferry. On their eponymous first album (1972), his bass notes made distinctive contributions to the tracks "Ladytron" and "Chance Meeting". However, not long after the album was released, Simpson, who was suffering from depression following the death of his mother from cancer, was given an open-ended choice to remain with or take a hiatus from the band by Ferry. Simpson chose to leave the band and never returned to the line-up.
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Many cobla bands in Catalonia still have players using traditional three-string double basses tuned A–D–G.Three-string double bass in the cobla band Website of Cobla Baix Llobregat Throughout classical repertoire, there are notes that fall below the range of a standard double bass. Notes below low E appear regularly in the double bass parts found in later arrangements and interpretations of Baroque music. In the Classical era, the double bass typically doubled the cello part an octave below, occasionally requiring descent to C below the E of the four-string double bass.
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Slap-style bass is sometimes used in bluegrass bass playing. When bluegrass bass players slap the string by pulling it until it hits the fingerboard or hit the strings against the fingerboard, it adds the high- pitched percussive "clack" or "slap" sound to the low-pitched bass notes, sounding much like the clacks of a tap dancer. Slapping is a subject of minor controversy in the bluegrass scene. Even slapping experts such as Mike Bub say, "Don't slap on every gig", or in songs where it is not appropriate.
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An excellent example of his thumb playing can be heard on the Earl Klugh song "Kiko". Without any plucking at all, Johnson sets a complicated funky bass line using a combination of counterpoint slapping with right hand using right thumb, counterpoint with left hand middle finger as a mute tec., called a slap choke, thus creating a percussive sound like drums, adding to the bass notes. His style incorporated more funk plucks in combination with his thumping, which along with the Music Man StingRay sound gives a very funky, unique sound.
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Koch has developed his own style of picking which is referred to as "chicken pickin’" and has taught his method of picking, referred to as hybrid picking. Koch uses a guitar pick held with the index finger and thumb of his right hand to pick the bass notes; he uses his other three fingers to pick the treble strings. Koch has termed his style of playing "gristle" and has been called the "Gristle King". Gristle is usually instrumental, guitar-driven music that leads to a crescendo of trading solos.
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To play the instrument, there was a homemade set of pedals, each pedal bringing a padded hammer to strike a string when depressed, like the action of a piano. With these six bass notes, Fuller could accompany himself on the 12-string guitar in several keys. Fuller's wife took to calling it a "foot-diller" (as in the then-current expression, "killer-diller", meaning exceedingly good); and later, it became shortened to just fotdella. One of Fuller's later fotdella iterations is available for viewing at a museum in Seattle, Washington.
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It first has a theme in F-sharp minor consisting of grace notes followed by eights. Then it goes to a fast, playful theme in A major. It repeats themes, and also has a theme with repeating bass notes, such as the sixty consecutive low Ds. Finally, the A major theme is repeated for a climactic part of the étude, this time in F-sharp major. The piece was heard in an orchestral arrangement as part of the Little Mermaid Ballet in the 1952 Danny Kaye film, Hans Christian Andersen.
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This form of instrument is still occasionally heard today in the "hudie qin" (蝴蝶琴, lit. "butterfly zither") played in the traditional silk and bamboo genre from the Shanghai region known as Jiangnan sizhu (江南絲竹), as well as in some Cantonese music groups. The Thai and Cambodian khim are nearly identical in their construction, having been introduced to those nations by southern Chinese musicians. Since the 1950s, however, steel alloy strings (in conjunction with copper-wound steel strings for the bass notes) have been used, in order to give the instrument a brighter, and louder tone.
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Some even describe the suomi-style of psytrance as anarchistic and almost punk in the trance music scene, even dadaist, because the songs are usually very different and progressive (or exploratory) compared to mainstream European psytrance tracks. Conversely, mainstream psychedelic trance comparatively sounds more "serious" than suomisaundi. Additionally, suomisaundi bass tends to differ from conventional European psytrance in patch design, equalization, and rhythmic distinction. For example, bass patches tend to be less punchy (i.e., have a slower attack) and often breaks a “rule” followed by European and Israeli producers: never overlap kick drum and bass notes.
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Diatonic button accordion (German make, early 20th century). The term squeezebox (also squeeze box, squeeze-box) is a colloquial expression referring to any musical instrument of the general class of hand-held bellows- driven free reed aerophones such as the accordion and the concertina. The term is so applied because such instruments are generally in the shape of a rectangular prism or box, and the bellows is operated by squeezing in and drawing out. Accordions (including piano accordions and button accordions) typically have right-hand buttons or keys that play single notes (melody) and left hand buttons that play chords and bass notes.
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In the article, subtitled "A Crowd of Seven" referring to the generally consistent poor attendance at the show, Guzman, in detail, describes the dynamics of Lieberman's stage show: "Then he laid down a barrage of thunderous bass notes and snarled unintelligibly in a gravelly, slurred voice. Each song also featured a wild, high-pitched flute solo, with Lieberman occasionally slapping the bass to sustain the rumbling feedback." Concluding, Guzman states that Lieberman's music is all about his emotions and his message, not his talent. Shortly after, on 7 June 2005, Lieberman released his 7th CD, Jew in the Underground.
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It starts with the sequence of B–B2 played by a guitar. These intervals are played on guitar throughout the song, but with the addition of different bass notes from halfway through the first verse, the overall harmony can be heard as EMaj7 – Gm – Fsus4. The general chord progression of the song is made from the progression E - Gm – F. Perry's vocals in the song span from the note of B3 to the note of F5. The song starts with relatively high vocals, with Perry singing in head voice; it also continues during the second verse.
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He focused on two factors: the tonal interplay of the chords and melody, and Perry's use of syncopation in her vocals. "This song is all about suspension—not in the voice-leading 4–3 sense, but in the emotional sense, which listeners often associate with 'exhilaration,' being on the road, being on a roller coaster, travel," he explained. That suspension is created "simply, by denying the listener any I chords," Pallett explains. After the first few lines, the B tonic chord that repeats throughout the song is offset by bass notes that give it a more dominant 7th feel.
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The left-hand buttons, on the left of the diagram, play bass notes, The right-hand buttons, on the right side, play higher-pitched notes. Each button plays a different note if the bellows are pulled open or pushed closed. As with other members of the concertina family, the bandoneon is held between both hands, and pulling and pushing actions force air through bellows and then through particular reeds as selected by pressing the instrument's buttons. As with other concertinas, the button action is in parallel to the motion of the bellows, and not perpendicular to it as with an accordion.
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She specializes in a rare form of pre-1950s jazz, stride piano, a highly physical style of playing first made popular by Fats Waller. The music was long associated with big, powerful—mostly black—men, so when Carmichael first emerged on the scene as a young, thin, white, ex-beauty queen, it was a shock. Count Basie was so taken with her playing that he nicknamed her "Stride". With stride piano, the pianist alternates low bass notes on beats one and three with chords on beats two and four with their left hand Judy Carmichael AllMusic.
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Occasionally this pattern is reversed by placing the chord on the downbeat and bass notes on the upbeat. Unlike performers of the ragtime popularized by Scott Joplin, stride players' left hands span greater distances on the keyboard. Stride piano is highly rhythmic because of the alternating bass note and chord action of the left hand. In the left hand, the pianist usually plays a single bass note, or a bass octave or tenth, followed by a chord triad toward the center of the keyboard, while the right hand plays syncopated melody lines with harmonic and riff embellishments and fill patterns.
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According to the critic Anthony Burton, the effect of the movement is broad and powerful: the breadth coming from "slow-moving harmonies over Sibelius-like long-held bass notes and timpani rolls" and the power from "urgently repeated ostinato figures, blazing dissonances, and sonorous scoring". The tension of the first section of the movement relaxes slightly for the second subject, which is a little slower, building to a climax of fiercely repeated notes. The central development section reprises the opening idea very quietly, slowly increasing the intensity. The movement ends with the return of the first theme, this time with more orthodox harmonisation.
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McCartney explained on Chaos and Creation at Abbey Road, aired in 2005, that the guitar accompaniment for "Blackbird" was inspired by Johann Sebastian Bach's Bourrée in E minor, a well-known lute piece, often played on the classical guitar. As teenagers, he and George Harrison tried to learn Bourrée as a "show off" piece. The Bourrée is distinguished by melody and bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of the Bourrée (reharmonised into the original's relative major key of G) as the opening of "Blackbird", and carried the musical idea throughout the song.
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The short instrumental introduction is based on a pedal point sustained for several measures, reminiscent of pedal points in funeral music by Schütz and Bach, in Mozart's Requiem in the same key of D minor, and in Reger's previous Latin Requiem. In a pattern similar to the beginning of A German Requiem, the bass notes are repeated, here on a low D (D1). The soloist alone sings the intimate appellation "" (Soul, forget them not) on a simple melody and repeating the first line after the second. Throughout the piece the soloist sings only these words, in the beginning and in the repeats.
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The short octave was a method of assigning notes to keys in early keyboard instruments (harpsichord, clavichord, organ), for the purpose of giving the instrument an extended range in the bass range. The rationale behind this system was that the low notes F and G are seldom needed in early music. Deep bass notes typically form the root of the chord, and F and G chords were seldom used at this time. In contrast, low C and D, both roots of very common chords, are sorely missed if a harpsichord with lowest key E is tuned to match the keyboard layout.
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In Renaissance or Baroque keyboard pieces, open scores of four staves were sometimes used instead of the more modern convention of one staff per hand. It is also sometimes synonymous with full score (which may have more than one part per staff). Scores from the Baroque period (1600-1750) are very often in the form of a bass line in the bass clef and the melodies played by instrument or sung on an upper stave (or staves) in the treble clef. The bass line typically had figures written above the bass notes indicating which intervals above the bass (e.g.
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In 1990, Wilson said: "'Here Today' was a work of art in my opinion. It was assertive track with utilization of basses played up higher. The trombones gave it that masculine touch.." Musicologist Walter Everett notes of the song: "One of the most remarkable parts in the bass literature occurs in 1:47–2:02 ... where rapidly repeated bass notes are all sevenths, 1 appearing beneath ii, in alternation with 7 placed below I." Bruce Johnston stated that the orchestral instrumental break of "Here Today" was influenced by late Baroque composers such as J. S. Bach.Essentials of music: Baroque composers .
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The second section is then played with, again, the right-hand playing the melody and the left-hand accompanying with bass notes and a chord. Although there are occasional changes to this pattern, for example the left-hand plays a sustained minim with a crotchet chord above. The main theme then comes back in with some variations to the first two times it was played: a triplet phrase is added to the 3rd bar of the section. The second section is again repeated with no variations, followed immediately by the first section again with the triplet sequence.
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Players must learn to coordinate two hands and use them independently. Most music is written for two hands; typically the right hand plays the melody in the treble range, while the left plays an accompaniment of bass notes and chords in the bass range. Examples of music written for the left hand alone include several of Leopold Godowsky's 53 Studies on Chopin's Etudes, Maurice Ravel's Piano Concerto for the Left Hand and Sergei Prokofiev's Piano Concerto No. 4 for the left hand. In music that uses counterpoint technique, both hands play different melodies at the same time.
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The dancers also get their cues from the vibration of bass notes in the music, eye contact, touch, movement of others, and lighting cues, all woven into the choreography. Kol Demama has a Tel Aviv school for dancers, teaching several hundred young dancers each year. Efrati intended Kol Demama to be judged on artistic grounds, "I am neither a social worker nor therapist, I am a dance creator." DANCE: FROM ISRAEL, THE KOL DEMAMA COMPANY, Anna Kisselgoff, New York Times, 11-21-84 Efrati blended strictly formal and classical ballet choreographic vocabulary with free-form contemporary dance.
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The United States had been a major sponsor of President Yahya's military government. American journalist Gary Bass notes in The Blood Telegram: Nixon, Kissinger, and a Forgotten Genocide, "President Nixon liked very few people, but he did like General Yahya Khan." Personal initiatives of President Yahya had helped to establish the communication channel between the United States and China, which would be used to set up the Nixon's trip in 1972.Kissinger's Secret Trip to China Since 1960, Pakistan was perceived in the United States as an integral bulwark against global Communism in the Cold War.
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If separate amplifiers are used, each must handle the square of the peak voltage in its own band. For example, if bass and midrange each has a signal corresponding to 10 W of output, a single amplifier capable of handling a 40 W peak would be needed, but a bass and a treble amplifier each capable of handling 10 W would be sufficient. This is relevant when peaks of comparable amplitude occur in different frequency bands, as with wideband percussion and high-amplitude bass notes. For most audio applications more power is needed at low frequencies.
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"Rude Mood" is a take-off of a Lightnin' Hopkins song called "Hopkins' Sky Hop". Vaughan played this song in several live performances including Live at Carnegie Hall and can be seen on the DVD Live at Montreux 1982. There are also versions where he uses an acoustic guitar instead of his characteristic Stratocaster, while sometimes also taking it notably faster or slower than the recorded studio version. The song starts out with the main riff introduced by the guitar; the bass notes are played quickly with muted notes in between, resulting in a swung feel.
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As such, a standard multi-level chorus can make the sound of the bass notes much thinner. This problem can be corrected by either mixing more of the un-affected ("dry") signal into the mix or by increasing the amount of bass frequency chorused in the sound. Pedals such as the "I90" chorus from bass amplifier manufacturer Eden Electronics allow the musician to control both of these elements. As some guitar chorus pedals pass the whole, unmodified signal and only apply chorus to higher frequencies, some bass players prefer the sound of some guitar- oriented pedals.
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Howard plays guitar left-handed and makes extensive use of alternate tunings. He does this for songs such as CGCGGC (Old Pine, Everything), D#A#D#G#A#D# (In Dreams) and CGA#GFC (End of the Affair, Esmerelda). He also complements these tunings by using a partial capo for many songs (Further Away, Everything, End of the Affair) in order to use harmonic or bass notes otherwise unavailable. He also has a distinctive percussive strumming style, called the "pick and go", and Howard's method of laying the guitar flat on top of his knees and playing it percussively was influenced by contemporary folk songwriter and guitarist John Smith.
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This approach can work well, because small PA systems typically have four to eight inputs, which can accommodate a large keyboard setup with multiple keyboards (electric piano, Hammond organ, synth, etc.). The other benefit of using a PA system is that they use full-range speakers which contain a woofer and a tweeter, which are designed to reproduce the full range of sounds, from rumbling bass notes to piercing high notes. Some keyboard players use powered PA speakers (also called "active speakers") with their keyboards. Powered PA speakers are speaker enclosures with a built-in power amplifier and, in some cases, other electronic components.
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Chiptune music began to appear with the video game music produced during the golden age of video arcade games. An early example was the opening tune in Tomohiro Nishikado's arcade game Gun Fight (1975). The first video game to use a continuous background soundtrack was Tomohiro Nishikado's 1978 release Space Invaders, which had four simple chromatic descending bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player. The first video game to feature continuous melodic background music was Rally-X, an arcade game released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay.
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As the use of a pick in those traditions is commonplace, generally only guitarists who play without a pick are noted by the term "fingerpicking" or "fingerstyle". Probably starting around 1930, flatpicking in American music was developed when guitarists began arranging old-time American fiddle tunes on the guitar, expanding the instrument's traditional role of rhythm guitar accompaniment with an occasional run on the bass strings. Although early guitarists such as Riley Puckett used a thumb pick to emphasize bass notes, this part of the style was adapted into flatpicking. The melodic style in bluegrass is often fast and dynamic, with slides, hammer-ons, pull-offs, powerful strumming and rapid crosspicking.
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Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys (which has subsequently made them ideal for spares on B-3s and C-3s), but later spinet models had "diving board" style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys. Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher.
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Cornelis Vreeswijk, Fred Åkerström, Gösta Cervin in a protest march against Vietnam war in Stockholm, 1965 Fred Åkerström (27 January 1937 – 9 August 1985) was a Swedish folk guitarist and singer particularly noted for his interpretations of Carl Michael Bellman's music, and his own work of the typically Swedish song segment named visa. These songs, visor, are traditionally very narrative and the performance is "acted" to some degree. The singer is in context a vissångare, a troubadour character. Åkerström was also known for his actor's interpretations of Bellman's 18th century material, and his unusual ability to reach deep bass notes (especially on his interpretation of Bellman's song Glimmande nymf).
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His most famous musical composition is the track "Walk Don't Run", written for a 1954 recording session as counter-melody to the chord changes of "Softly, as in a Morning Sunrise". Guitarist Chet Atkins covered the track, recording a neo-classical rendition of the song on the electric guitar for his Hi Fi in Focus album which preceded the Ventures' hit by three years. He played his arrangement fingerstyle, including the bass notes A, G, F, and E which later became the basis for the Ventures' arrangement. The musicians who became The Ventures heard the Atkins version, simplified it, sped it up, and recorded it in 1960.
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The piece begins with an introduction containing slow broken octaves in the left hand and chords in the right hand. After a group of arpeggios, the main theme is introduced in the left hand, a beautiful descent followed by a chromatic ascent with harmonies changing with each note. It is accompanied in the right hand by bass notes (crossing over) and octaves which seem to "sing along" with the left hand. Eventually, after a buildup with large chords in the right hand and octaves deep in the bass in the left hand, this theme is played again this time with harp like arpeggios in both hands.
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This enables auditory guidance without the need for spatial audio and in sonification computer games and other applications, such as drone flying and image-guided surgery. It is also applied today within music, where musicians and artists continue to create new auditory experiences by masking unwanted frequencies of instruments, causing other frequencies to be enhanced. Yet another application is in the design of small or lower-quality loudspeakers, which can use the phenomenon of missing fundamentals to give the effect of bass notes at lower frequencies than the loudspeakers are physically able to produce (see references). Automobile manufacturers engineer their engines and even doors to have a certain sound.
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Additionally he uses the frailing-technique like a banjo player by lightly brushing several or all strings, alternating down- and upstrokes with bass notes. His bass-lines are meticulously composed and often repeatedly take over parts of the melody. In several of his pieces he uses single note runs build from open and fretted strings creating a very particular sound, mostly in intro- and outro-parts and bridges leading from one part of the piece to the next. Kirtley mainly composes short and clearly structured pieces, containing three choruses, with variations in the second and third chorus and an ending repeating the main melody.
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In time his sales of pianos exceeded those of harpsichords, to the point that he ceased to manufacture harpsichords in 1793. He died in London. Broadwood's other technical innovations in piano manufacture include: adding a separate bridge for the bass notes, patenting the piano pedal in 1783 and expanding the then-standard five octave range upwards by half an octave, in response to a request of Dussek, and then by half an octave downwards. An 1810 Broadwood grand, now in the Musical Instrument Museum in Brussels As a company, Broadwood and Sons prospered, and was passed into the hands of his sons, James Shudi Broadwood and Thomas Broadwood.
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The early makers including Eichhorn (Schwyz) and Nussbaumer (Bachenbülach) experimented with different arrangements and numbers of buttons. The typical Schwyzerörgeli today has 18 bass buttons arranged in two rows (one for bass notes and one for major chords), and 31 treble buttons on the RH arranged in 3 rows with a fingering similar to the 'club' system. The basses progress in 4ths like the Stradella system seen on chromatic and piano accordions, but in the opposite direction. Some Schwyzerörgelis have fewer buttons in the upper/inside row on the RH much like the club models, or more buttons - sometimes an extra row on the outside - and fewer or more basses.
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Several of the songs on You Make It Feel Like Christmas, including "My Gift Is You", allude to Stefani's relationship with Blake Shelton. "My Gift Is You" is a Christmas and pop-soul song that lasts two minutes and 51 seconds. Musically, it is a blend of the sound of classic Christmas songs with the contemporary style of more modern ones. According to Janine Lano from The Highlander, the song's beat is similar in sound to the one found in Ben E. King's 1961 single "Stand by Me", due to the similarities in "poignant bass notes" that help create a sense of the holiday season.
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"Mr. Radio" is a song recorded by the Electric Light Orchestra. The song was the scheduled second single release from the band's debut album written by Jeff Lynne and is track number six on their 1971 debut album, The Electric Light Orchestra (No Answer in the US). The tune is written in a 1920s American style about a man whose wife has left him and his only companion is his radio. The orchestral intro to the song is played backwards and is an early example of what would be Lynne's trademark ELO production style; another oddity is that the track does not feature any bass notes.
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"Step one, pour yourself a drink", Mark Collin, The Guardian, 27 June 2008 When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back".
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Dunbar developed the studio's sound by initiating a clapping snare drum beat under certain bass notes, then moving flying cymbals on by doubling rim shots, playing a major role in developing the roots-heavy sound soon to be called "rockers". Channel One's biggest commercial success, "Right Time", by The Mighty Diamonds, was released in 1975, and included on the group's 1976's Hoo Kim-produced album of the same name. However, many other big names came to record in the studio: Leroy Smart, Delroy Wilson, Black Uhuru, Horace Andy, John Holt, Junior Byles, The Wailing Souls, and Dillinger, were a few of them. Among the many labels they created were Well Charge, Channel One, and Hitbound.
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Charlie Hunter (born May 23, 1967) is an American guitarist, composer, and bandleader. First coming to prominence in the early 1990s, Hunter plays custom-made seven- and eight-string guitars on which he simultaneously plays bass lines, chords, and melodies. Critic Sean Westergaard described Hunter's technique as "mind-boggling...he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off." Hunter's technique is rooted in the styles of jazz guitarists Joe Pass and Tuck Andress, two of his biggest influences, who blended bass notes with melody in a way that created the illusion of two guitars.
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Haussmann's portrait of Bach depicts him holding the manuscript to BWV 1076, which is also the thirteenth canon in the Goldberg Canon cycle. When Bach's personal copy of the printed edition of the "Goldberg Variations" (see above) was discovered in 1974, it was found to include an appendix in the form of fourteen canons built on the first eight bass notes from the aria. It is speculated that the number 14 refers to the ordinal values of the letters in the composer's name: B(2) + A(1) + C(3) + H(8) = 14.See Chapter Seven of Richard Taruskin (2009) Music in the Seventeenth and Eighteenth Centuries: The Oxford History of Western Music.
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Experienced organists will usually vary their use of stops throughout a hymn tune, but most change them for the last verse. They will usually pull out stops that emphasise the bassline, or that are particularly loud, rich or harsh sounding. If the organ has a tuba stop, then this will often be used with the pedalboard, as it provides the loudest bass notes on the organ, and reeds are also useful (if available). Sometimes hymnals and other compilations of tunes (such as Carols for Choirs) that publish last verse harmonisations will indicate suitable stops to be pulled out for them, but organists are generally assumed to know the instrument well enough to discern for themselves which stops to use.
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157, Taylor & Francis, That same year, Sega released Zaxxon, which introduced the use of isometric graphics and shadows;Bernard Perron & Mark J. P. Wolf (2008), Video game theory reader two, p. 158, Taylor & Francis, and SubRoc-3D, which introduced the use of stereoscopic 3D through a special eyepiece; This period also saw significant advances in digital audio technology. Space Invaders in 1978 was the first game to use a continuous background soundtrack, with four simple chromatic descending bass notes repeating in a loop, though it was dynamic and changed tempo during stages. Rally-X in 1980 was the first game to feature continuous background music, which was generated using a dedicated sound chip, a Namco 3-channel PSG.
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The AR-1 set new standards of low-frequency performance and low distortion that were unsurpassed for many years and some of the best loudspeakers available fifty-two years later continue to use the acoustic suspension principle for highest quality, low distortion bass reproduction. The small size of the high performance AR-1 (permitted by the acoustic suspension design) helped usher in the age of stereophonic sound reproduction. Two bookshelf-sized loudspeakers were far more acceptable in a living room than the two refrigerator-sized boxes previously necessary to reproduce low frequency bass notes. By March 1957, AR began shipping a smaller, less expensive, acoustic suspension system, the US$87 Model AR-2.
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The earlier song is mostly concerned with a reconciliation between an African-American musician named Alexander Adams and his flame Eliza Johnson, but also highlights Alexander's innovative musical style. Berlin's "Alexander's Ragtime Band" was introduced to the American public by vaudville comedienne Emma Carus, "one of the great stars of the period." A popular singer in the 1907 Ziegfeld Follies and Broadway features, Carus was a famous contralto of the vaudeville era renowned for her "low bass notes and high lung power." Carus' brassy performance of the song at the American Music Hall in Chicago on April 18, 1911, proved to be well-received, and she toured other metropolises such as Detroit and New York City with acclaimed performances that featured the catchy song.
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He discovered and employed the tenth or "broken tenth" interval. The pianist could not only substitute tenths for single bass notes but could also play broken (staggered) tenths up and down the keyboard Stride pianist Art Tatum (1909–1956) (a fan of Fats Waller and Lee Sims, who was himself a fan of the European "Impressionist" pianists such as Claude Debussy and Erik Satie, and hosted a radio program Tatum enjoyed) introduced more complex harmonies into his playing, and, like Fats Waller, would start songs with legato explorations of chordal intricacies before launching into swing. Tatum was given a posthumous Grammy Award in 1974. Stride pianists used devices such as arpeggios, black note slide-offs, varying rhythmic accents, and tension and release.
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In the philosophy of music, scholars have argued whether instrumental music such as symphonies are simply abstract arrangements and patterns of musical pitches ("absolute music"), or whether instrumental music depicts emotional tableaux and moods ("program music"). Despite the assertions of philosophers advocating the "absolute music" argument, the typical symphony-goer does interpret the notes and chords of the orchestra emotionally; the opening of a Romantic-era symphony, in which minor chords thunder over low bass notes is often interpreted by layman listeners as an expression of sadness in music. Also called "abstract music", absolute music is music that is not explicitly "about" anything, non-representational or non- objective. Absolute music has no references to stories or images or any other kind of extramusical idea.
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While the types of bass lines vary in different metal subgenres, the bassist usually fulfills a similar role: anchoring the harmonic framework with bass notes that emphasize the roots of the chords and, along with the drums and rhythm guitar, establishing the beat. The bass is also used a solo instrument in some metal styles. While four-string basses (tuned E, A, D, G from lowest string to highest string) are the most common, since the 1990s, some metal bassists have used five-string basses for added lower range—a low "B". Five string basses are used in nu metal, as well as death metal, progressive metal and other heavy metal subgenres, to complement the downtuned guitars use by the guitarists.
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After the First World War, the fledgling record industry split hokum off from its minstrel show or vaudeville context to market it as a musical genre, the hokum blues. Early practitioners surfaced in jug bands performing in the saloons and bordellos of Beale Street, in Memphis, Tennessee. Light-hearted and humorous jug bands like Will Shade's Memphis Jug Band and Gus Cannon's Jug Stompers played good-time, upbeat music on assorted instruments, such as spoons, washboards, fiddles, triangles, harmonicas, and banjos, all anchored by bass notes blown across the mouth of an empty jug. Their blues was rife with popular influences of the time and had none of the grit and plaintive "purity" of blues from the nearby Mississippi Delta.
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Pressure bellows permit a wider range to modify the volume, depending on whether the pedaling of the bellows is faster or slower. In North America and the United Kingdom, a reed organ with pressure bellows is referred to as a harmonium, whereas in continental Europe, any reed organ is called a harmonium regardless of whether it has pressure or suction bellows. As reed organs with pressure bellows were more difficult to produce and therefore more expensive, North American and British reed organs and melodeons generally use suction bellows and operate on vacuum. Reed organ frequencies depend on the blowing pressure; the fundamental frequency decreases with medium pressure compared to low pressure, but it increases again at high pressures by several hertz for the bass notes measured.
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The strings and bassoons play a realized bass part, but the chord-playing instruments often use figured bass. A part notated with figured bass consists of a bass line notated with notes on a musical staff plus added numbers and accidentals (or in some cases (back)slashes added to a number) beneath the staff to indicate what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played. The phrase tasto solo indicates that only the bass line (without any upper chords) is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period.
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Cello first position fingerings Fingered music for guitar: the numbers 1 to 4 indicate the stopping fingers, 0 an open note, circled numbers strings, and dashed numbers slipping On string instruments fingers are numbered from 1 to 4, beginning with the index finger, the thumb not being counted because it does not normally play on a string, and 0 indicating an open string. In those cases on string instruments where the thumb is used (such as high notes on a cello in thumb position), it is represented by a symbol the shape of an O with a vertical stem below(somewhat similar to Ǫ or ϙ, for instance). Guitar music indicates thumb, occasionally used to finger bass notes on the low E string, with a 'T'. Position may be indicated through ordinal numbers (e.g.
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Yepes' 10-string guitar tuning The instrument made it possible to transcribe works originally written for baroque lute without deleterious transposition of the bass notes. However, the main reason for the invention of this instrument was the addition of string resonators tuned to C, A#, G#, F#, which resulted in the first guitar with truly chromatic string resonance – similar to that of the piano with its sustain/pedal mechanism. After 1964, Yepes used the ten-string guitar exclusively, touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each year. He recorded the Concierto de Aranjuez for the first time with the ten-string guitar in 1969 with Odón Alonso conducting the Orquesta Sinfonica R.T.V. Española.
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This was largely due to the flexibility he had in his thumb which helped to create a very strong and voluminous sound in the bass notes. Another innovation that separated Segovia from the Tarrega school was the search for the tension in the strings by placing his right hand further to the right side. In this way, he could not only obtain colour variation but an especially strong, round and voluminous sound, something very helpful for giving concerts in big halls (this technique was later used by Narciso Yepes). Before Segovia, guitarists from the Tarrega school, played the guitar by putting the hand right in the soundhole of the instrument, thus creating a mellow sound, but not capable to fill the whole space of a big concert hall.
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There are many reasons that established bands and groups use offstage musicians and singers for concerts and concert tours. When heavy metal band Kiss hired an offstage keyboardist, it was to fill in the band's sound during the live concerts with backing chords and deep bass notes. However, one of the band members felt that only guitarists should be seen on stage, due to the group's reputation as a guitar-based heavy metal band. In other cases, a group has been a trio or a quartet for decades, and the decision is made that having a touring keyboardist, rhythm guitarist or backup singer appear onstage could lead to speculation that the band may be adding a new member; to avoid rumours, the extra touring musician or singer is instructed to play or sing offstage.
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Of the five raw elements that make up the "Humpty Dance" drum track, one is a sample from "Sing a Simple Song" by Sly and the Family Stone, in the form of a one-measure-long drum loop. Digital Underground incorporated the Family Stone drum loop with four other raw elements; a deep tonal kick drum that alternated between two bass notes, a handclap snare (also a sample, taken from "Theme From the Black Hole" by the band Parliament), drum-machine hi-hats running continuously throughout which were programmed to 8th-notes, and a guitar hit happening once every bar, all assembled into the now-familiar pattern that forms the Humpty Dance drum track. The vocal sample that happens in the song's chorus sections is from Parliament's "Let's Play House" from their 1980 album, Trombipulation.
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The Backers escapement gives the keys a feeling of lightness and the action a responsiveness that allows for very rapid playing. These properties, combined with the smoothness and responsiveness of the escapement, encourage the player to adopt a right hand style that majors on scales and ornamentation overlaying sustained bass notes and chords since the hammer action gives the tenor and bass register considerable power, duration and harmonic richness and complexity through each note - tones that cannot be achieved by the string plucking action of a harpsichord. So the instrument is most suited to transitional music written for the early piano by composers such as Haydn and Mozart who migrated from the harpsichord to the piano during their careers and compositional development. This music retains the right-hand style of the harpsichord, i.e.
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The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before three quiet downward-moving bass notes "usher in" the first principal waltz melody. The first waltz theme is a familiar gently rising triad motif played by cellos and horns in the tonic (D major), accompanied by the harp; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.
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It was also the first video game to popularize the concept of achieving a high score, being the first game to save the player's score. It was also the first game where players had to repel hordes of creatures, take cover from enemy fire, and use destructible barriers, in addition to being the first game to use a continuous background soundtrack, with four simple chromatic descending bass notes repeating in a loop, though it was dynamic and changed pace during stages. It also moved the gaming industry away from Pong-inspired sports games grounded in real-world situations towards action games involving fantastical situations. Space Invaders set the template for the shoot 'em up genre, with its influence extending to most shooting games released to the present day, including first- person shooters such as Wolfenstein, Doom, Halo and Call of Duty.
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Other organs positioned the black keys on the same level and depth as the white keys. The first pedal keyboards only had three or four notes. Eventually, organ designers augmented this range by using eight notes, an approach now called a "short octave" keyboard, because it does not include accidental notes such as C, D, F, G, and A. The 17th-century north German organ builder Arp Schnitger used an F and G in the lowest octave of the manuals and pedal keyboards, but not a C and D. From the 16th to 18th centuries, short octave keyboards were also used in the lowest octave of upper manual keyboards. By the 14th century, organ designers were building separate windchests for the pedal division, to supply the pipes with the large amount of wind that bass notes need to speak.
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Fifth, I play in multiple tunings, and sometimes replace the sixth string bass with a high sixth string treble (of the same gauge employed for the first string). The banjo player will realize that I use my thumb on the bass strings to obtain drones, much as a clawhammer player uses the banjo’s high fifth string; indeed, when I string the guitar with a high treble in place of the sixth- string bass, it is partly to imitate the fifth string of the banjo. In many of the tunes, I keep multiple drones going, on different strings. To sum up, in my version of clawhammer guitar, the thumb plays off the beat, even when it plays harmony bass notes or bass lines; no strings are ever plucked; with respect to the right hand, only the index finger and the thumb sound notes, but never at the same time.
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An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight (1975). While this allowed for inclusion of music in early arcade video games, it was usually monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man (1980) composed by Toshio Kai or Pole Position (1982) composed by Nobuyuki Ohnogi. The first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player. The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay.
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A part notated with figured bass consists of a bass line notated with notes on a musical staff plus added numbers and accidentals (or in some cases (back)slashes added to a number) beneath the staff to indicate what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played. The phrase tasto solo indicates that only the bass line (without any upper chords) is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period. The reason tasto solo had to be specified was because it was an accepted convention that if no figures were present in a section of otherwise figured bass line, the chord-playing performer would either assume that it was a root- position triad, or deduce from the harmonic motion that another figure was implied.
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Some idea of the rich variety of forms found in the Sonatinae may be gleaned from the following examples: Sonata IX is a passacaglia in which the main theme is presented as a canon at the fifth in the first and the last sections; and statements of the ostinato sometimes overlap with formal sections of the sonata. Sonata XII, the last in the cycle, consists entirely of imitative movements, unlike other sonatas, in which imitative movements are either absent or are surrounded by free sections, such as slow lyrical arias, toccata-like movements with rapid passagework over sustained bass notes, etc. Albertini's sonatas are very demanding technically, with frequent instances of difficult fast passages, leaps, sudden changes of register and, particularly in the last sonata, double stopping. Apart from the Sonatinae, two works are known by name from catalogues: Sonata hyllaris ex C à 10 (from a 1699 inventory) and a suite of 7 pieces à 4.
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Because the intended range of frequencies is limited, subwoofer system design is usually simpler in many respects than for conventional loudspeakers, often consisting of a single driver enclosed in a suitable box or enclosure. Since sound in this frequency range can easily bend around corners by diffraction, the speaker aperture does not have to face the audience, and subwoofers can be mounted in the bottom of the enclosure, facing the floor. This is eased by the limitations of human hearing at low frequencies; such sounds cannot be located in space, due to their large wavelengths compared to higher frequencies which produce differential effects in the ears due to shadowing by the head, and diffraction around it, both of which we rely upon for localization clues. To accurately reproduce very low bass notes without unwanted resonances (typically from cabinet panels), subwoofer systems must be solidly constructed and properly braced to avoid unwanted sounds of cabinet vibrations.
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As one of the earliest shooting games, Space Invaders set precedents and helped pave the way for future titles and for the shooting genre. Space Invaders popularized a more interactive style of gameplay, with the enemies responding to the player-controlled cannon's movement, and was the first video game to popularize the concept of achieving a high score, being the first to save the player's score. While earlier shooting games allowed the player to shoot at targets, Space Invaders was the first in which targets could fire back at the player. It was also the first game where players were given multiple lives, had to repel hordes of enemies, could take cover from enemy fire, and use destructible barriers, in addition to being the first game to use a continuous background soundtrack, with four simple diatonic descending bass notes repeating in a loop, which was dynamic and changed pace during stages, like a heartbeat sound that increases pace as enemies approached.
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A second type of short octave used the keys :B C D C D E F G to play the G major scale :G A B C D E F G. Here, the exotic bass notes C and D are sacrificed to obtain the more essential A and B. The notation for the pitch range of such an instrument is "G/B". The following diagram illustrates this kind of short octave: :none In stringed instruments like the harpsichord, the short octave system created a defect: the strings which were tuned to mismatch their keyboard notes were in general too short to sound the reassigned note with good tone quality. To reach the lower pitch, the strings had to be thickened, or tuned too slack. During the 17th and 18th centuries, harpsichord builders gradually increased the size and bass range of their instruments to the point where every bass note could be properly played with its own key.
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The song was not performed live. "Dance of the Rock & Roll Interviewers" is an orchestral piece originally intended to be paired with "Touring Can Make You Crazy" as part of an early scene in which the band arrives in Centerville and is greeted by music journalists, but only part of the sequence, depicting a mannequin of Zappa being torn apart by the journalists, appeared in the final film, due to timing and budget restraints, and the "Touring Can Make You Crazy" sequence was not shot and does not appear in the film. Regarding "Touring", Couture writes that "The long double-bass notes and the overall dark atmosphere and slow tempo suggest a tiring trip." The album features five segments which form the suite "This Town Is A Sealed Tuna Sandwich": a prologue, the "Tuna Fish Promenade", "Dance of the Just Plain Folks", a reprise of the main melody, and the conclusion "The Sealed Tuna Bolero".
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Jürgen Altmann of the Dortmund University of Technology, an expert on sonic weapons, has said that there is no reliable evidence for nausea and vomiting caused by infrasound.The Pentagon considers ear-blasting anti-hijack gun — New Scientist High volume levels at concerts from subwoofer arrays have been cited as causing lung collapse in individuals who are very close to the subwoofers, especially for smokers who are particularly tall and thin.Wired. Music Fans, Beware the Big Bass In September 2009, London student Tom Reid died of sudden arrhythmic death syndrome (SADS) after complaining that "loud bass notes" were "getting to his heart". The inquest recorded a verdict of natural causes, although some experts commented that the bass could have acted as a trigger.Loud bass music ‘killed student’ Tom Reid, Metro, retrieved 18 June 2010 Air is a very inefficient medium for transferring low frequency vibration from a transducer to the human body.Tempest, W. Infrasound and low frequency vibration (1977).
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Without their main hang player, the group turned to sampling the hang, as well as using a hybrid mix of electronic and acoustic drums, and electronically treated and looped bowed bass and saxophone lines. The drummer, Duncan Bellamy, explained the new approach for the track Laker Boo in a contemporary interview: “The twinkly loop that starts it is actually the hang on the loop station but pitched up a couple of octaves and then I pitched the hang down two octaves so the bass notes on that tune are the hang as well. Then Milo is bowing the bass and I was playing the bass drum and the hi hat - then Jack was playing all the samples on the keyboard - because we are now looking for ways to not always have the saxophone, or the sound of the hang, but it's still in there - and that really felt like a breakthrough.” The artwork and design for the album was done by the drummer Duncan Bellamy, who has a degree in Fine Art from Central Saint Martins.
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