Bach admired the theme, extemporised a fugue on it, and said that he would make a copperplate of it.
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Visiting virtuosos to Ireland also extemporised on Irish melodies and the results were often enthusiastically received by their audiences.
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While the characters brush against one another, Batout doesn't insist their extemporised dialogues give any information about a larger plot.
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The play gives an insight into the nature of Elizabethan theatre during Shakespeare's time and the relationship between playscript and extemporised comedy.
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Only one extemporised sortie in the second half of this otherwise mind-bogglingly static charade even begins to make a visit worthwhile.
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Your deeds got into extemporised strong-rooms made of kitchens and sculleries, and fretted all the fat out of their parchments into the banking-house air.
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Independently Commander Marsden was working on portable flamethrowers for the Army. His work eventually resulted in the semi-portable "Harvey" flamethrower and the backpack "Marsden" flamethrower. Meanwhile, the PWD developed the Home Guard Flamethrower as a quickly extemporised weapon.
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By contrast, he recognised McCartney's bass part on the Harrison-composed "Something" as creative but overly busy and "too fussily extemporised". McCartney identified Sgt. Pepper's Lonely Hearts Club Band as containing his strongest and most inventive bass playing, particularly on "Lucy in the Sky with Diamonds".
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Vehicle index cards, 00ZW01-04ZW42, The Tank Museum British historian David Fletcher considered it as the fifth-worst British tank produced. His particular criticisms were mostly about the bulky, thin-armoured turret, but also about it being considered as a tank rather than restricted to being an extemporised tank destroyer.
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The gallows erected for the execution had been destroyed by some of the citizens of Cork and the hanging was extemporised using a rope attached to a metal staple in a vertical post. James Cotter was hanged in Cork City on 7 May 1720. News of his execution triggered widespread riots on a national scale.O'Donnell, p.
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Mainwaring and his men reach home and discover what has happened. By this point Fullard, the Navy, the Marines and the police have begun to arrive. The home guard platoon infiltrate the building though the church crypt. Dressed in choir surplices, they enter the church hall singing All Things Bright and Beautiful, with their own extemporised second verse.
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Changes in the number and composition of the territorial divisions allocated to the home army between 1914 and 1918 In early 1917, the home army comprised five second-line territorial divisions, three Home Service divisions, six independent brigades, a mounted division, ten former-yeomanry cyclist brigades, twenty-one territorial cyclist battalions, three regiments of reserve cavalry, five reserve Guards battalions, one battalion of the Honourable Artillery Company and numerous 'extemporised' units of the Training, Territorial and Special Reserves. These formations were divided mainly between the Northern Army, concentrated in East Anglia, and the Southern Army, straddling the Thames estuary. The 1st Mounted, 65th (2nd Lowland) and 72nd Divisions were allocated to the General Reserve. A number of cyclist units and the extemporised units were distributed throughout the army as part of the Local Force.
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The Armadillo was an extemporised armoured fighting vehicle produced in Britain during the invasion crisis of 1940–1941. Based on a number of standard lorry (truck) chassis, it comprised a wooden fighting compartment protected by a layer of gravel and a driver's cab protected by mild steel plates. Armadillos were used by the RAF Regiment to protect aerodromes and by the Home Guard.
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The Bison was an extemporised armoured fighting vehicle frequently characterised as a mobile pillbox. Bisons were produced in Britain during the invasion crisis of 1940-1941. Based on a number of different lorry chassis, it featured a fighting compartment protected by a layer of concrete. Bisons were used by the Royal Air Force (RAF) to protect aerodromes and by the Home Guard.
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If the breech pin is lost, the pistol cannot be loaded. A common replacement, given the nature of the pistol's users, was to replace the pin with another screw or other sort of extemporised plug. This does not work, the pellet in some cases even being fired backwards out of the breech. The Gat is a low power and inaccurate weapon.
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As Lieutenant Colonel (Commanding Officer) of the 1st Battalion, Royal Irish Regiment of the British Army, Collins gave a rousing eve-of-battle speech to his troops in Kuwait on Wednesday 19 March 2003. The speech was extemporised, and was recorded in shorthand by a single journalist, Sarah Oliver. No recording or film of the speech exists, Collins told the BBC.
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This is "a puzzling place to explore, because it has two distinct faces. At the western edge of the island stands the busy seaport of Tazmagor, where the food is good, the people happy, and the air filled with the din of extemporised songs". "Toward the eastern end of the island", nothing is built, and no one gives a reason for not doing so; this, says Klepp, is peculiar, given overpopulation in Tazmagor.
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112 RAC was assigned to the newly formed 42nd Armoured Division as its armoured car regiment.Joslen, p. 29. The regiment's initial equipment was the Bison concrete armoured lorry with extemporised armour and Standard Beaverette armoured cars handed over by 42nd Division's Reconnaissance Regiment, with Daimler Dingo scout cars as armoured command vehicles. 112 RAC left 42nd Division in February 1943 and later became a draft-finding unit for other armoured car regiments fighting in the Normandy Campaign.
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Roseingrave's best compositions are his keyboard works which show surprisingly little influence of continental composers. His harpsichord works occasionally reflect the influence of Scarlatti, but the organ works are closer to the English style of Purcell and Blow. They are at times highly chromatic, reflecting the dissonant approach of English music such as Purcell's viol fantasies. They show irregular phrasing and form, suggesting that they may have arisen from freely extemporised performances for which he had been so famous.
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Wilfred Robinson, curate of North Cave, the former officiating in the church and the latter at the graveside. So large was the attendance that many of the people cannot be accommodated seats in the church. \---Unreadable portion--- of the choir from the church took part in the service, Mr. Newton playing an extemporised voluntary as the coffin was borne into the church. The songs were chanted by the choir, who also sang the hymn "Rock of Ages" At the conclusion of the service in the church Mrs.
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The company's first duties were to build breastworks rather than trenches in the waterlogged front line and to make extemporised mortars and Jam tin grenades. By the end of the month the division went into training for the planned Battle of Neuve Chapelle and the RE prepared depots of battle stores including trench bridges and ladders. 1/1st Home Counties Fd Co built a Pontoon bridge over the Lys to carry the extra traffic. The attack on 10–13 March advanced the line by about .
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Here the storytelling emphasises that the King is not without fault: "sins, like swarms, remain in thee". Much of the comedy of the piece was likely provided in extemporised passages by Kempe of which we now have no record. The title page highlights the appearance of the Men of Gotham, a village in Nottinghamshire that had become a Tudor folk byword for cunning tax avoidance, after a 1540 chapbook appeared, recounting how their feigned idiocy successfully deterred a royal visit expected to entail high local expenditure.
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The junction also marks the start-point of the A127 Southend Arterial Road, also 1920s vintage. At the roundabout, an extemporised two-lane flyover still provides priority for A12 eastbound to A127 traffic (and vice versa). However, the A12 now veers roughly north-eastward, because it starts to follow the course of the Roman road; the Romans started building this road from Colchester, their original capital for the province. However, the stretch from Gallows Corner to the junction with the M25 motorway, called Colchester Road, is still perfectly straight.
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Blue is a piano concerto by British composer Matthew King, composed specially for the autistic savant pianist Derek Paravicini. The concerto grew out of an improvisation session between the pianist and composer for BBC Radio 4 programme called The Inner World of Music. during which King and Paravicini extemporised in numerous styles. Fascinated by Paravicini's ability to improvise using advanced harmonies, similar to Ravel or Scryabin, King improvised with him for several sessions, slowly devising a work that came to use a number of themes from Gershwin as the basis for a large single movement piece in extended Sonata Form.
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Among Irish composers, Benjamin Dwyer has made one of the largest and most sustained contributions to the repertoire for classical guitar. His Twelve Études, composed over a period of twelve years and completed in 2008, comprise the summation of his writing to date for the instrument. His treatment of melodic cells, exploring and reshaping their musical potential by increments, and avoiding the traditional development, can give his musical language the appearance of being extemporised. Dwyer also makes frequent use of rhythmic ostinati, as in Voces críticas (2004), the Guitar Quintet (2003) and several of the Études.
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An attempt to make a motor vehicle capable of deep wading for river crossings and amphibious landing, the Bedford Giraffe was developed as insurance against the shallow wading kits under development did not prove effective in deeper water. As a 'plan B' Vauxhall adapted a Bedford GL by mounting its engine, cab and gearbox on an elevated girder frame some seven feet high, with a chain drive transmitting power to the propshaft. The ungainly but effective vehicle demonstrated it was a viable solution should hastily extemporised waterproofing kits fail but they proved effective and so no specialised type was required.
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Cultural historian James Chapman has written about connections between this Doctor Who serial and earlier science- fiction TV programmes. The Quatermass Experiment (1953), for example, has a similar storyline concerning astronauts endangering humanity after coming into contact with extraterrestrials. Chapman also refers to the 1960s Gerry Anderson series Captain Scarlet and the Mysterons, whose eponymous aliens are another race of malevolent Martians. Patrick Mulkern of Radio Times noted that the script revisions caused an "uneven plot" and anticlimax, and wrote that the "narrative feels extemporised, a bumpy, sometimes thrilling ride, but one with no clear end in sight".
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The German defenders consisted of the bulk of the 176th Infantry Division, northwest of Geilenkirchen, and the extemporised 183rd Volksgrenadier Division, in the town and southeast of it. General der Infantrie Günther Blumentritt—commander of the XII SS Corps which the 176th and 183rd were subordinate to —had placed the bulk of his artillery in the area.U.S. History, p548 South-east of Geilenkirchen, deep minefields had been laid from Geilenkirchen to Jülich, via Immendorf and Puffendorf, about . The area was at the point where a new section of the Westwall, built while Aachen held out, joined the established defences.
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They captured at least 20 Dutch merchant ships, captured or destroyed at least eight and possibly twelve warships and drove the Dutch from the Channel.Low (1872), pp.41-2 Like the battles of 1652, this was chaotic, but the most notable tactical events happened in the first day, when Tromp led the whole Dutch fleet against about two dozen English ships at the rear of the fleet, hoping to overpower them before the bulk of the English fleet could come to their aid. However, the outnumbered English ships extemporised a line ahead formation and managed to keep the Dutch at bay through coordinated heavy gunfire.
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Although the band regularly extemporised soundtracks to underground films during this era, MacLise never officially recorded with them, and is often considered something of a shadowy, legendary figure in their history. Demos recorded during this period are included on the Peel Slowly and See box set, but MacLise plays on none of them because (according to John Cale) he did not appreciate the need to turn up on time. Cale describes MacLise as "living on the Angus calendar", showing up to gigs hours or even days after the band had finished. When the band's first paying gig in November 1965 arose, MacLise quit, suggesting the group were selling out.
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Since then, he has given a wide range of concerts, including the Wimbledon Summer Festival, Leighton House, and a much-publicised 1981 Royal Wedding Day concert at St. Martin-within-Ludgate. He is one of the very few composer-pianists on the circuit today. In addition to a wide repertoire of neo-classical music and virtuoso Romantic music, he has established a considerable reputation with the performances of his own compositions, as well as his own poetry (Albion Enigma) and he has presented concerts of extemporised keyboard work. He has worked with Ballet Rambert, the Royal Ballet, Arts Educational Schools and the mime artists Adam Darius and Nathaniel.
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The Tank, Cruiser, Challenger (A30) was a British tank of World War II. It mounted the QF 17-pounder anti-tank gun on a chassis derived from the Cromwell tank to add anti-tank firepower to the cruiser tank units. The design compromises made in fitting the large gun onto the Cromwell chassis resulted in a tank with a powerful weapon and reduced armour. The extemporised 17-pounder Sherman Firefly conversion of the US-supplied Sherman was easier to produce and, with delays in production, only 200 Challengers were built. The Challenger was able to keep up with the fast Cromwell tank and was used with them.
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Several vocal and organ settings of the hymn "An Wasserflüssen Babylon" have been composed in the 17th and 18th century, including 4-part harmonisations by Johann Hermann Schein, Heinrich Schütz and Johann Sebastian Bach. In the second half of the 17th century, Johann Pachelbel, Johann Adam Reincken and Bach's cousin, Johann Christoph, arranged settings for chorale preludes. The arrangements of "An Wasserflüssen Babylon" by Reincken and Pachelbel form the earliest extant transcriptions of Bach, copied on a 1700 organ tablature in Lüneburg when he was still a youth; remarkably, they were only unearthed in Weimar in 2005. In 1720, in a celebrated organ concert at Hamburg, Bach extemporised a chorale setting of "An Wasserflüssen Babylon" in the presence of Reincken, two years before his death.
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Alfred Deller's grave at All Saints' Church, Boughton Aluph Alfred George Deller, CBE (31 May 1912 – 16 July 1979), was an English singer and one of the main figures in popularising the return of the countertenor voice in Renaissance and Baroque music during the 20th century. He is sometimes referred to as the "godfather of the countertenor". His style in singing lute song, with extensive use of rubato and extemporised ornamentation, was seen as radical and controversial in his day but is now considered the norm. Deller was an influential figure in the renaissance of early music: an early proponent of "original instrument performance" and one of the first to bring this form to the popular consciousness through his broadcasts on the BBC.
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Although a written literary tradition exists, Gallo is more noted for extemporised story-telling and theatrical presentations. Given Brittany's rich musical heritage, contemporary performers produce a range of music sung in Gallo (see Music of Brittany). The roots of written Gallo literature are traced back to Le Livre des Manières written in 1178 by Etienne de Fougères, a poetical text of 336 quatrains and the earliest known Romance text from Brittany, and to Le Roman d'Aquin, an anonymous 12th century chanson de geste transcribed in the 15th century but which nevertheless retains features typical of the mediaeval Romance of Brittany. In the 19th century oral literature was collected by researchers and folklorists such as Paul Sébillot, Adolphe Orain, Amand Dagnet and Georges Dottin.
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For his 1974 North American tour with Ravi Shankar, he had been reluctant to feature any material from the Beatles' catalogue, but at the urging of Shankar and Preston during rehearsals, he added "Something" to the setlist. To the disappointment of many fans, however, he chose to alter some of the song's lyrics (such as changing the first line to "If there's something in the way, remove it"). Further distancing himself from the Beatles' legacy, Harrison told journalists at the start of the tour that he would join a group with Lennon "any day" but rejected the idea of working again with McCartney, since he preferred Willie Weeks as a bassist. MacDonald comments that this statement was likely in reference to McCartney's "too fussily extemporised" bass part on the Beatles' 1969 recording.
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From the three mines that were constituted on the ore body in 1871, they increased to ten within twenty years to decrease later in order to become only one when it came to close it for good. In Sarrabus it came to a real quest for silver: together with big societies, such as the Society of Lanusei and the society of Monteponi, many extemporised diggers of valuable metals demanded hundreds of permits to carry out mineral searches on the territories of the towns of Muravera, Villaputzu and, particularly, of San Vito. In 1851 the Genuese company "Unione Sulcis e Sarrabus" acquired the research permits in the area of Monte Narba, in the comune of San Vito. In 1885 the French engineer Leon Goüin founded in Genua the "Società Tacconis-Sarrabus" for the exploitation of the Tacconis mine.
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In the first movement Bach creates another equally dramatic effect by interrupting the relentless minor-key passages with statements of the ritornello theme in major keys. Jones describes these moments of relief as providing "a sudden, unexpected shaft of light." The highly rhythmic thematic material of the solo harpsichord part in the third movement has similarities with the opening of the third Brandenburg Concerto. 600px In both B sections Bach adds unexpected features: in the first movement what should be the last ritornello is interrupted by a brief perfidia episode building up to the true concluding ritornello; similarly in the last movement, after five bars of orchestral ritornello marking the beginning of the A′ section, the thematic material of the harpsichord introduces a freely developed 37-bar highly virtuosic episode culminating in a fermata (for an extemporised cadenza) before the concluding 12 bar ritornello.
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60th Division was now tasked with crossing the River Jordan in order to raid the enemy's communications around Amman: it was to cross at Ghoraniyeh, one of two bridging sites that had been identified. 521st Field Co extemporised rafts of timber, wire netting and tarpaulin to get infantry across and then form the basis for an infantry assault bridge. However, the floodwater prevented them being launched on the nights of 21/22 or 22/23 March. The first infantry only got across on 23 March after the Anzacs had already crossed, 521st's assault bridge then being quickly followed by a barrel pier constructed by 519th Fd Co and by a pontoon bridge by the army's bridging train. 522nd Field Co then began to build a heavy timber trestle bridge on 25 March, but the rising floodwater caused this to be abandoned on 29 March. Instead 522 Fd Co built a suspension bridge between 1 and 18 April after cables had been brought from Egypt.
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Olsen Cruise Lines on the Black Watch and Braemar; aboard the Regatta on Oceania Cruises, and for Celebrity Cruises among many others. His presentations are dynamic and largely extemporised. One characteristic manifestation of Ford's iconoclastic streak is displayed in the title of one of his books, which he intentionally gave the longest and most complex title in English-language publishing history: Nonscience and the Pseudotransmogrificationalific Egocentrified Reorientational Proclivities Inherently Intracorporated In Expertistical Cerebrointellectualised Redeploymentation with Special Reference to Quasi-Notional Fashionistic Normativity, The Indoctrinationalistic Methodological Modalities and Scalar Socio-Economic Promulgationary Improvementalisationalism Predelineated Positotaxically Toward Individualistified Mass-Acceptance Gratificationalistic Securipermanentalisationary Professionism, or How To Rule The World, London: Wolfe Publishing (). The point of the sesquipedalian title was to poke fun at those who conceal their lack of real expertise by using long and complicated words, whilst making the serious point that more people are fooled by these so-called experts than really should be.
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The service is constructed around a sermon focused on Biblical exposition and opened with one or more Bible readings and closed by a series of prayers (both set and extemporised) and hymns or songs. A "high-church" or Anglo-Catholic service, by contrast, is usually a more formal liturgy celebrated by clergy in distinctive vestments and may be almost indistinguishable from a Roman Catholic service, often resembling the "pre–Vatican II" Tridentine rite. Between these extremes are a variety of styles of worship, often involving a robed choir and the use of the organ to accompany the singing and to provide music before and after the service. Anglican churches tend to have pews or chairs, and it is usual for the congregation to kneel for some prayers but to stand for hymns and other parts of the service such as the Gloria, Collect, Gospel reading, Creed and either the Preface or all of the Eucharistic Prayer.
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In there is a description of a concert in 1720, when Bach extemporised for "almost half an hour" on An Wasserflüssen Babylon at the organ loft of St. Catherine's Church, Hamburg, with a well- known comment of Reincken, in attendance and written 2 years before his death: "I thought that this art was dead, but I see that in you it still lives." The coda of Bach's last version of the third chorale of the "Great Eighteen Chorale Preludes", dating from his last decade in Leipzig, shares some compositional features of Reincken's chorale prelude: the ornamental descending flourish at the end of Reincken's coda ::upright=2.7 can be compared with Bach's closing coda of BWV 653 with scales in contrary motion in the lower manual and pedal. ::upright=2.7 As Stinson writes, "It is hard not to believe that this correspondence represents an act of homage." Despite being composed in Leipzig within the traditions of Thuringia, however, Bach's contemplative "mesmerising" mood is far removed from his earlier improvisatory compositions in Hamburg and Reincken's chorale fantasia: the later chorale prelude is understated, with its cantus firmus subtly embellished.
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