These moments, along with major character deaths, give the show a recognizable rhythm and keep people slogging through the downbeats.
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In contrast, in Ferlinghetti's best poetry the upbeats and downbeats of jazz are translated into language providing promise beside the pain.
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Her songs often feature earthy instruments on top of R&B downbeats, with breaks of silence or no vocals at all.
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In a video posted by the Kensington Palace Twitter account, Princess Kate can be seen giving strong downbeats for the world-famous opening of Beethoven's Fifth Symphony.
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And you're listening to rhythm, his thumb lining out the downbeats with a sharper picking sound as well as the mellowness of the voice, working against the slicing sound made with the hands.
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Later, ethereal notes in the chorus are punctuated by firm string downbeats, like exhalations, that build to loud grandeur, then immediately recede, before a swirling, swinging climax driven on by an undercurrent of ba-bum heartbeat rhythm.
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Tempo and whether a song emphasizes downbeats or upbeats have a huge influence on how sexy we think a song is — if it's too slow or too fast, it no longer mimics the movement of the body during sex.
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Where their previous record Quarter Turns Over A Living Line saw Joe Andrews and Tom Halstead exploring negative space reverberating between its instrumental gestures, "Dead Heat" assertively strikes its downbeats while still implying a subtle, cinematic kind of tension.
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The Downbeats, managed by the Reyes clan of Pasig, owners of RCR Productions, appeared in contemporary TV specials and movies. Eddie Reyes and the Downbeats opened for the Beatles at their concert of July 4, 1966 at the Rizal Memorial Stadium with Orlando Muñoz in Manila, performing "Get Off Of My Cloud", originally by The Rolling Stones. The Downbeats was the highest paid international band in Hong Kong during their time. Smith then played drums and sang for the Japanese rock trio, Speed, Glue & Shinki.
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He has also voted in DownBeats annual international critics poll. Information and data from these polls are hosted on his website.
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Founding members Robert Fleming, Johnny Dawson, Cleo "Duke" Miller and Norman McLean recorded together for various small labels in Detroit prior to their Motown days, as The Sensations, The Five Emeralds, and The Downbeats, and also recorded as The Downbeats for Motown in 1962. The record company suggested that they add female lead vocalist Saundra Mallett, who had recorded unsuccessfully for the label, backed by The Vandellas; she later married and became Saundra Edwards. The new group's first single release was "Put Yourself In My Place", issued in December 1965; early copies credited the record to the Downbeats, but Berry Gordy wanted to use the name Elgins, which had previously been one of the names used by The Temptations. The record rose to no.
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The cartoon features the song Carolina in the Morning, rather than the more obvious choice Chattanooga Choo Choo; Carolina in the Morning 's faster melodic rhythm and emphatic downbeats complement the timing of the action in the cartoon.
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Most other regions fall between those extremes. Many traditional dance tunes retain the binary form of classical dance, following an "AABB" pattern of two distinct strains played twice each, the "A part" and "B part" typically being 8 measures (16 downbeats) in length, making one playing of the tune 32 measures (64 downbeats). In a few tunes the A and B parts are half the normal length; in others, particularly those derived from marches or rags, one or more parts are twice the normal length. Practice varies among fiddlers as to whether to repeat the parts of such non-standard tunes.
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The group was first called the Downbeats. After being hired to work with Bob Crosby's big band in 1940, it was renamed the Bob-O-Links. The group appeared on 15 commercial recordings by the Crosby orchestra, including two charted hits, "You Forgot About Me" (which reached No. 15), and "Do You Care?" (No. 18).
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The music ranged from rock and country and western to Dixieland jazz. Sometimes the showbands played traditional Irish music at their performances. Originally called the Downbeats Quartet, the Miami Showband was reformed in 1962 by rock promoter Tom Doherty, who gave them their new name. With Dublin-born singer Dickie Rock as frontman, the Miami Showband underwent many personnel changes over the years.
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Breaths or pauses are expressed through a larger or smaller movement in space, giving new impulse to what follows. Beat is conveyed through greater emphasis of downbeats, or those beats upon which stress is normally placed. Beat is generally treated as a subsidiary element. Eurythmy has only occasionally been done to popular music, in which beat plays a large role.
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The band originally started calling themselves the Downbeats. When they started recording, record company executives hated the name and they took their name as an embellishment from his name. He had the band dress in Revolutionary War uniforms, giving the band a distinctive look. Revere was the energetic comic relief, the madman of rock and roll, in contrast to the teen idol look of Lindsay.
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After the sua come the tiap hi'i, dances of two kinds. In one, hi tägtäg 'languid hi' the women sing "hi'ie, hi'ie, hi'ie, hi'ie," while the men grunt to the effect of "hui'i, hui'i, hui'i, hui'i". The performers focus on a major triad, with the men singing the root, and women singing the third and fifth; a subdominant triad serves as an auxiliary. The performers clap their hands on downbeats.
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During his time in the band, White also had a paper route. In 1964, the Downbeats changed their name to the Blue Chips and travelled to London to enter an amateur band contest held at the London Palladium by Melody Maker. They won the contest and were awarded with money, new equipment, and recording contract and recorded several singles which did not chart. They returned home, and disbanded soon after.
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It was followed by three more top ten hits in the UK over the next year, "Get Lost" (No. 10), "Forget Me Not" (No. 3) and "I Don't Know Why" (No. 7). Together with a backing band, the Downbeats, which comprised Roger Retting, Ben Steed, Roger St. Clair and Bugs Waddell, he toured widely around the UK with such stars as Cliff Richard, Billy Fury and Helen Shapiro.
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The circumstance of their meeting was later referred to in the tongue-in-cheek song "Legend of Paul Revere", recorded by the group. Lindsay joined Revere's band in 1958. Originally called the Downbeats, they changed their name to Paul Revere & the Raiders in 1960 on the eve of their first record release for Gardena Records. The band garnered their first hit in the Pacific Northwest in 1961, with the instrumental "Like, Long Hair".
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Armstead was born to Wilton and Rosie Armstead in Yazoo City, Mississippi on October 8, 1944. She started singing in the church in which her mother was a minister. After her grandfather introduced her to blues music, she also began singing in juke joints and at dances, and first sang in a club as part of Bobby "Blue" Bland's band. She joined a local band, Little Melvin & The Downbeats, as a teenager.
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Northeastern University offers students the opportunity to join various Ethnic, Cultural, and Political organizations along with numerous honor societies, special interest groups, fraternities, and sororities. Northeastern University hosts six student-run a cappella groups on campus: three mixed ensembles (Distilled Harmony, The Downbeats, and The Nor'easters), two treble ensembles (Pitch, Please! and Treble on Huntington), and one TTBB ensemble (UniSons). All groups regularly compete in the International Championship of Collegiate A Cappella (ICCA).
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In the mid-1960s the label started taking on guitar driven bands such as Philip Chan and the Astronotes, Danny Diaz and the Checkmates, Teddy Robin and the Playboys, and The Anders Nelsson group. Later on, other bands such as the Sam Hui fronted Lotus, The Mystics, The Zoundcrackers, D’Topnotes, The Downbeats, Joe Jr. and the Side Effects, Mod East, Sons of Han, and The Menace had recordings issued on the label.
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Lindsay became lead singer and saxophone player in a band with Revere and several others. He suggested they call themselves "The Downbeats" after a magazine with the same title. They made some demo tapes in 1960 in Boise, Idaho, and signed with a record company called Gardena Records. The group scored their first national hit with the piano/guitar instrumental "Like, Long Hair" which peaked at #38 in the Billboard charts on April 17, 1961.
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Several months into formal drumming lessons, White joined his first band, a local group named the Downbeats, at thirteen. They performed songs by the Beatles, the Searchers, and Gerry and the Pacemakers. The group became well known in the Newcastle area, playing working men's clubs and dance halls as much as seven nights a week until late. White's school teachers only found out about his activities when the band were featured in the local newspaper.
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The first use of a virtual orchestra in a live performance occurred on February 12, 1987. Christopher Yavelow's opera, Countdown, was performed by the Boston Lyric Opera Company under the direction of John Balme. The downbeats of Balme's baton were synchronized through a modified Roland SBX80 to the sequencer driving a fully loaded Kurzweil K250 that had been enhanced with some extra proprietary orchestral sounds. The K250 sampler, a virtual orchestra in a box, was hidden behind the curtain.
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In each of these sections, no bar lines are marked and each part plays a different length of music. After a certain point each of the performers repeats a segment of his or her part until the conductor signals the transition to a new section, possibly conducted in the traditional manner, possibly ad libitum. Only one section of Symphony No. 2 is conducted in the traditional manner, the fourth "evolutionary" stage of the second movement (downbeats 133–50).
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As Louis Brooks and the Downbeats, the group first recorded for Tennessee Records in the early 1950s, supporting vocalists including Christine Kittrell and Helen Foster as well as recording under their own name. They recorded several instrumentals featuring pianist Lovell "Knot" Phillips. Renamed as Louis Brooks and his Hi-Toppers, the group began recording for the Excello label in 1954. The following year they had their biggest hit, "It's Love Baby (24 Hours a Day)", featuring Earl Gaines.
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David Sanborn, Grace Kelly and Marcus Miller Working professionally since she was a preteen, Kelly was dubbed a prodigy in the jazz world. In 2014, Kelly worked with the producer Stewart Levine on her EP, Working for the Dreamers, which was released in September of that year. She was featured in the December 2015 issue of Vanity Fair as a significant millennial in the jazz world. Kelly was named "Rising Star – Alto Saxophone" in DownBeats 2016 Critics Poll.
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George Small is an American musician, composer and producer who is active in the New York music scene. He has a wide variety of credits that include hit recordings, live performances with musicians (Broadway, concert and TV) and extensive productions and original compositions. His keyboard and piano work is featured on John Lennon & Yoko Ono's album Double Fantasy and the follow up, Milk and Honey. He played downbeats on "(Just Like) Starting Over" and a piano accompaniment on "Watching the Wheels".
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Electronic metronome, Wittner model Most modern metronomes are electronic and use a quartz crystal to maintain accuracy, comparable to those used in wristwatches. The simplest electronic metronomes have a dial or buttons to control the tempo; some also produce tuning notes, usually around the range of A440 (440 hertz). Sophisticated metronomes can produce two or more distinct sounds. Tones can differ in pitch, volume, and/or timbre to demarcate downbeats from other beats, as well as compound and complex time signatures.
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Fuxa's swirling electronica and atmospheric downbeats are suggested to evoke a forgotten transient landscape. Füxa's first album in a decade, Electric Sound of Summer, was released on Rocket Girl in 2012. Both Britta Phillips and Dean Wareham (of Luna and, later, Dean & Britta) donate vocals, as does Seefeel’s Sarah Peacock, while members of Spiritualized, Spacemen 3 and Spectrum all contribute. It is suggested to be the cross- pollination of these collaborators’ talents which gives Electric Sound of Summer its strength and bottomless depth.
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Its exaggerated staccato and duple meter resemble the scherzos of the Flute Quintet and the Sixth Symphony, respectively, while the pizzicato A-minor chords at the opening and close recall the scherzo movements of the string quartets by Debussy and Ravel . The finale is in sonata-allegro form like the opening movement, but with an expressionist tone. The first theme is dramatic, marked by contrasting textures, sharp dissonances, crescendos starting forte, irregular downbeats, and abrupt rests. The second theme is a grotesque march.
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This may be used with any factor of any type of chord, but rhythm is played so that the chord tones fall on the downbeats. In Bebop melodic improvisation, targeting often focused on the 9th, 11th and 13th of the chord - the colour tones - before resolving later in the phrase to a 7th chord tone. In bebop the 9th, 11th and 13th notes were often altered by adding sharps or flats to these notes. Ninths could be flatted or sharpened.
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Mel West & The Meteors, and The Canadian Downbeats had a few singles on the Soundaround label, later picked up Canada-wide via Stan Klees' "Red Leaf" label. Mel West & The Meteors would chart Canada wide with their tracks "Sad & Blue" and "Seventh Saint". Earl had later success with the Grand Coulee Old Tyme Jug Band, and sold a number of albums via TV infommercials in the 1980s. Most current bands/artists produce CDs by themselves or with the aid of the Saskatchewan Recording Industry Association (SaskMusic).
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According to Pat Pattison, prosody is "The appropriate relationship between elements, whatever they may be." In this sense, every element in a song can and should create prosody, because prosody is "support for what is being said." In this sense, even the number of lines in a verse or a verse's rhyme scheme can be used to create or enhance prosody. For example, a songwriter might align downbeats or accents with stressed syllables or important words, or create musical accompaniment to the meter of the lyrics.
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In 1965 Harrison used an expression pedal to control his guitar's volume on "I Need You", creating a syncopated flautando effect with the melody resolving its dissonance through tonal displacements. He used the same volume-swell technique on "Yes It Is", applying what Everett described as "ghostly articulation" to the song's natural harmonics. In 1966, Harrison contributed innovative musical ideas to Revolver. He played backwards guitar on Lennon's composition "I'm Only Sleeping" and a guitar counter-melody on "And Your Bird Can Sing" that moved in parallel octaves above McCartney's bass downbeats.
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Briggs was raised in Allentown, Pennsylvania, United States. In the early 1950s she worked as a laundry truck driver to support herself and finance The Downbeats, a band she formed that drew audiences both on live radio and at public venues in the Allentown area. In 1952, she joined Joy Cayler's All-Girl Orchestra as a singer and trombonist. Two years later, appearing with Cayler's Orchestra at the Arcadia Ballroom in New York City, she performed a rousing version of "Shake, Rattle and Roll" and was discovered by celebrity manager/talent scout Jack Petrill.
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Shortly after his father died in 1982, his sister, Barbara, died of cancer in 1984. To honor his father's legacy and support the efforts of education, Monk created the Thelonious Monk Institute of Jazz. Monk received the New York Jazz Awards First Annual "Recording of the Year" award and Downbeats' 63rd annual Album of the Year Reader's Choice Award for Monk on Monk. This is the "80th Anniversary Birthday Tribute to Thelonious Sphere Monk" featuring 20 guest artists including Herbie Hancock, Wayne Shorter, Arturo Sandoval, Dianne Reeves, Nnenna Freelon, and Howard Johnson.
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Columbus got his big break playing with the Downbeats Band which later became Ray and the Drifters. He relocated to Auckland when he was offered a TV show titled Club Columbus, whereupon he changed the band's name to Ray Columbus & the Invaders in 1964. The Invaders were known for their Fender guitars, dance moves and lavish clean-cut outfits. In 1964, the Invaders released their best-known song, "She's a Mod" The track was written by British musician Terry Beale for his group The Senators, but was not a hit for his group.
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The first stanza, although it is in ballad meter (4-3-4-3), seems stilted when following the four downbeats of trochaic ballad; it is read most naturally with anapests at the start of line 1 and at the beginning and end of line 3. Stanzas two and three appear to shorten the beginning of each line (3-3-4-3), creating an abrupt effect. End-rhyme follows a scheme of abcb defe ghih jklk, a typical ballad pattern. There is alliteration, consonance, and assonance scattered throughout the poem.
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German marches move at a very strict tempo of 110 beats per minute, and have a strong oom-pah polka- like/folk-like quality resulting from the bass drum and low-brass playing on the downbeats and the alto voices, such as peck horn and snare drums, playing on the off-beats. This provides a very martial quality to these marches. The low brass is often featured prominently in at least one strain of a German march. To offset the rhythmic martiality of most of the strains, the final strain (the trio) often has a lyrical (if somewhat bombastic) quality.
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Smith learned to play the drums by about age 9, and formed his first rock band at age 11, in 1959. This group, composed of friends from the Kamuning district, was first called The Blue Jazzers, later The Villains, then The Surfers. As The Surfers, they got a 6-month gig in Vietnam in the early 1960s. A few years later, Smith became a rock sensation in Manila as the drummer and lead vocal of the Eddie Reyes and the Downbeats band, imitating Mick Jagger of the Rolling Stones, which earned him the title "Mick Jagger of the Philippines".
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The song exhibits a humorous and playful tone, starting with Swift's "chatty" vocals over stripped-down finger snaps and a slinky bass, slowly building momentum into a dramatic falsetto chorus, dotted by breathy sighs and downbeats. The gloomy seventh track "Miss Americana & the Heartbreak Prince" is a melodramatic synth-pop protest song based on a high school parable, reminiscent of Swift's 2009 song "You Belong with Me". Marked with peppy cheerleader chants, Swift expresses her disillusionment at the state of US politics, using the song as a metaphorical critique. Critics compared the song to works by Bruce Springsteen, Lana Del Rey and Halsey.
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Carter later explained that humorous episodes were important to the show, especially during the "pitch-black" ninth season. He reasoned "there are the downbeats, and then you need the relief in the tension."Hurwitz and Knowles, p. 204 The use of numbers in this episode helped emphasize the idea "that numerology is an important part of our life and plays a part, but it really ... illustrate[s] the idea of patterns, patterns of behavior, of the ways in which numbers rule both the universe and our lives and our ability to solve things, [and] to solve our mysteries of life".
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Richard Graham Sarstedt (born 29 March 1940Some sources, including his own website, give 1942; but other reliable sources such as Allmusic give 1940 and his younger brother Peter was born in 1941.), known by the stage name Eden Kane, is an English pop/rock singer, record producer and actor best known as a former teen idol in the 1960s. He has also recorded under his birth name and with backing group the Downbeats. Born in India, he is the elder brother of musicians Peter Sarstedt and Robin Sarstedt (aka. Clive Robin Sarstedt), with whom he has collaborated on numerous Sarstedt Brothers albums.
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The basic pattern is usually notated in or time signatures. Each town in Barlovento has a unique way of interpreting the basic pattern and adds its own local variation, but in general, the prima carries the base of the rhythm and it is played on the upbeats, while the pujao improvises and the cruzao marks the downbeats. This contrasts with the role of the conga drums in the Cuban rumba, where the smallest drum is the soloist. The pujao improvisations are centered on a set pattern, but they can achieve an impressive degree of variety when the percussionist is able to tune the drum while performing.
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In orchestral music, rute (or ruthe) first appeared in the music of Mozart, in his opera Die Entführung aus dem Serail, K. 384 (1782). The setting of the opera is Turkey, and rute were imported from Turkish Janissary music, the martial music of the Sultan's royal guard, very much in vogue at the time. (James Blades, "Percussion Instruments and their History" 1992) The rute were played by the bass drum player, with a mallet striking on downbeats and rute being struck on offbeats. A typical pattern in this style would generally go, in 4/4 time, boom-tap-tap- tap boom-tap-tap-tap, the taps representing strikes of the rute.
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Groovin' Blocks is a falling block-type puzzle game with gameplay that has been likened to Columns and Lumines.Groovin' Blocks (WiiWare) Review The game sees players having to clear lines of three or more blocks of the same color, and like Columns players can cycle through the falling lines of blocks, with adjacent blocks of the same color also disappearing with the matched lines. In addition, extra points can be scored when players bring their falling blocks down to the downbeats (called "Superbeats") of the game's electronica soundtrack, adding to a score multiplier. By setting high scores, players collect stars to unlock new songs and power-ups.
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In the first, the 8th beats are played with a space-left-right-left- space-left-right-left pattern, where the spaces represent downbeats not played—that and the left-right-left falls on the ee-and-a, or and-2-and if counted at double time. In the second basic pattern, the left hand plays a double chop as described in the guitar section while the right hand plays longer notes on beat 2 (or beat 3 if counted at double time) or a syncopated pattern between the double chops. Both these patterns can be expanded on and improvised embellishments are sometimes used.
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The manuscript sources for each have many verbal memoranda that refer back to the original idea of the Concerto, identifying materials for piano cadenzas, and for specific orchestral instruments. The "viola part" to the Sonata movement is not to be played by a viola. It is simply "the viola part" from the last page of the original Concerto sketch (where it is doubled by bassoon, and the downbeats to each triplet figure are doubled by tubular bells). When Ives added the line back to the Sonata movement (in the copy of the Transcriptions made by copyist Reiss), in both pencil sketch and ink patch, he simply called it "viola part".
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"Sixteen", the longest song on the album at eight minutes and sixteen seconds, is also produced by J.U.S.T.I.C.E. League. The elegant, "smooth as silk" backing track also contains influences of jazz, as well as cymbal downbeats, saxophone sounds, string instruments and a guitar solo, performed by fellow rapper André 3000, who also provides vocals on the song. The backing track bears stylistic similarities to André 3000's own single "Prototype" (2004). The song's title alludes to the idea, discussed by both Ross and André 3000 in their lyrics, that a traditional sixteen bar verse is not long enough to get across the ideas they wish to.
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Mel Bay Jazz Scales for Guitar, p.48. . There are five types of frequently used bebop scales: # the bebop dominant scale # the bebop Dorian scale # the bebop major scale # the bebop melodic minor scale # the bebop harmonic minor scale Each of these scales has an extra chromatic passing tone. In general, bebop scales consist of traditional scales with an added passing tone placed such that when the scale is begun on a chord tone and on the downbeat, all other chord tones will also fall on downbeats, with the remaining tones in the scale occurring on the upbeat (given that the scale is played ascending or descending; i.e., no intervallic skips are played).
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It was dubbed as a "celebration of creativity; of community; of music past, present… and Füxa". Comprising a sixteen-strong army of collaborators, including BJ Cole, Ann Shenton of Add N to (X), Judy Dyble and Britta Phillips. Füxa's tenth full-length album, Dirty D, was released on Rocket Girl in 2013. It is suggested to display a penchant for swirling electronica and atmospheric downbeats that have been compiled in a way which is constantly pleasing to the ear. The dirty ‘D’ of the title could refer to a number of disquieting facets of today's society – the dominance of Disney, the illusion of democracy, dereliction – and, in contrast to Disney's sickly saccharine supremacy over our children's imaginations.
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Ultimately, musicians count using numbers, “ands” and vowel sounds. Downbeats within a measure are called 1, 2, 3… Upbeats are represented with a plus sign and are called “and” (i.e. 1 + 2 +), and further subdivisions receive the sounds “ee” and “uh” (i.e. 1 e + a 2 e + a). Musicians do not agree on what to call triplets: some simply say the word triplet (“trip-a-let”), or another three-syllable word (like pineapple or elephant) with an antepenultimate accent. Some use numbers along with the word triplet (i.e. “1-trip-let”). Still others have devised sounds like “ah-lee” or “la-li” added after the number (i.e. 1-la-li, 2-la-li or 1-tee-duh, 2-tee- duh).
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Thomas established an international reputation, especially in Europe where he was offered coveted return engagements by several leading ensembles. But his dedication to family and his home country meant that his career remained based in Australia. As the final director of the ABC Sinfonia, he became a casualty of the structural reforms of the mid-1980s that led eventually to the complete divestment of the orchestras from the ABC. As a writer, his later work included an autobiography (Upbeats and Downbeats: A Conductor's Life), several hundred poems, a booklet of career anecdotes, a published reference text (Overture to Conducting), as well as articles and scripts for radio stations 2MBS FM and ABC Classic FM. He died in August 2017 at the age of 85.
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The band was established in Dublin in 1962 by impresario Tom Doherty. He recruited an existing group, the Downbeats Quartet, comprising Joe Tyrell (piano), Tony Bogan (drums), Clem Quinn (guitar), and Martin Phelan (saxophone), and augmented them with singer Dickie Rock (at the time, a member of another group, the Melochords), trumpeter Tommy O'Rourke, trombonist and vocalist Murty Quinn, and bass player Denis Murray. The group's first engagement was at the Palm Beach Ballroom in Portmarnock, and as the town of Palm Beach in Florida is near to Miami, they were named the Miami Showband. They rapidly became one of the top showbands in the country, and their first single, a version of the Elvis Presley album track "There's Always Me" reached number one in the Irish charts in December 1963.
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Pathé Records (Hong Kong) followed suit with a series of albums on the Columbia and Pathé labels by Chang Loo (張露), Betty Chung (鍾玲玲), Billie Tam (蓓蕾), Judy Jim (詹小屏) and Irene Ryder. And in 1968, Paul Leung (梁寶耳) produced one of the more notable bilingual albums of the 1960s. Other bands include Giancarlo and his Italian Combo, The Corsairs, The Reynettes and The Fabulous Echoes, Mystics, the Zoundcrackers, the Downbeats, and the Side Effects, Mod East, Sons of Han, The Menace, Anders Nelsson, the Inspirations, The Menace and Joe Chen, The Black Jacks, The Quests (Mr. Rainbow) as well as folk songs by artists including Buddy Wong, the Willows, the Nautics, the Swinging Monstrels, The Young Men, the Gabriels.
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They became nationally popular after being spotted by television producer Kevan Moore, who hired them as the resident band on his nationally televised pop show Let's Go. Gordon Jenkins quit in December 1963, prior to their TV work, and he was replaced by Christchurch drummer Dave Diver. England left soon after, as he didn't want to be a full-time musician at the time. He subsequently released a single, "Jezebel"/"Linda Lu", in 1965 as Johnny England & The Titans (on which he was backed by popular Wellington band The Premiers). He was replaced by pianist/singer Lou Parun, who had already established himself as a solo performer and had released four singles on the Lexian Records label in 1962 and 1963. Paul Griffin also left during 1964 and he was replaced by Brian Peacock (bass, vocals), who had previously played with Christchurch band The Downbeats.
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During the 1990s there were three separate performing versions assembled, including a version by David Gray Porter (1993, Section A plus the Coda and part of a first Prelude only), Larry Austin (1994), and Johnny Reinhard (1996). It is a complex work, using 20 independent musical lines; each moves in a separate meter, only coinciding on downbeats eight seconds apart. According to his notes on a sketch of the Universe Symphony, Ives was "striving to ... paint the creation, the mysterious beginnings of all things known through God and man, to trace with tonal imprints the vastness, the evolution of all life, in nature, of humanity from the great roots of life to the spiritual eternities, from the great inknown to the great unknown." Ives envisioned the work being performed by multiple orchestras located in valleys, on hillsides and mountains, with the music mimicking "the eternal pulse ... the planetary motion of the earth ... the soaring lines of mountains and cliffs ... deep ravines, sharp jagged edges of rock".
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Boom bap is a music production style that was prominent in the East Coast during the mid-1980s to the early 1990s. The term "boom bap" is an onomatopoeia that represents the sounds used for the bass (kick) drum and snare drum, respectively. The style is usually recognized by a main drum loop that uses a hard-hitting, acoustic bass drum sample on the downbeats, a snappy acoustic snare drum sample on the upbeats, and an "in your face" audio mix emphasizing the drum loop, and the kick-snare combination in particular. Prominent hip hop artists that incorporated "boom bap" in their music include Nas, LL Cool J, Gang Starr, KRS-One, Mobb Deep, R.A. The Rugged Man, Boot Camp Clik, Wu-Tang Clan, Common, A Tribe Called Quest and The Notorious B.I.G... Key producers include DJ Premier, Marley Marl, Large Professor, Pete Rock, Statik Selektah, The Alchemist, Apollo Brown and 9th Wonder.
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The LP features female singer Saundra Edwards (previously on a solo contract with Motown), with Cleo "Duke" Miller, Norman McLean, and Johnny Dawson (who previously recorded for Motown as The Downbeats). Edwards sings lead vocals on all but two tracks, "634-5789" and "When a Man Loves a Woman", on which McLean sings lead. Released on Motown's V.I.P. subsidiary in 1966, the album contains the group's first two singles for Motown, "Put Yourself In My Place" and "Heaven Must Have Sent You", which were both minor hits on the Billboard Hot 100, making No. 72 and No. 50, respectively. "Heaven Must Have Sent You" was a Top Ten hit on the US R&B; Chart, reaching No. 9, and the B-Side of "Put Yourself In My Place", "Darling Baby", made a separate chart entry and reached No. 92 on the Billboard Hot 100 and No. 4 on the R&B; Chart.
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