The music, though riveting, is all over the place harmonically.
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She is holding one note, and the orchestra is moving harmonically.
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To reflect that emotionally and harmonically is quite difficult to do.
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"George was thinking harmonically and melodically with the taxi horns," he said.
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Harmonically, it's really very simple, in the best sense of that word.
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Mr. Little also shows assurance when the music breaks into harmonically raw angst.
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So, noisy and sonically interesting, but music that isn't harmonically or melodically pleasing.
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Every moment matters in this ruminative yet somehow intense and harmonically piercing music.
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The opening lines were sung in unison before unfolding in harmonically piquant, buoyant counterpoint.
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His sad aria ends with a grim, harmonically thickened version of the Cafe Momus motif.
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We have about 45 seconds of usually unheard music — incidentally, very adventurous harmonically and contrapuntally.
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On "Now, Now" she reaches for a guitar and harmonically pings her way through its terrain.
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He has these sets of chord changes that, harmonically, I don't know anyone who has them.
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"Maggiolata" was harmonically milky and rhapsodic, like late Fauré or early Debussy with an Italianate cast.
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The music struck me here as beholden to the harmonically crunchy style of Neo-Classical Stravinsky.
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The album puts Villafranca's brightly evocative, harmonically layered pianism alongside his talents as a composer and arranger.
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"Sepulcher" is constantly reiterated on an F minor chord that does not fit harmonically within the context.
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The pizzicato chords of "Silver," the austere second section, were harmonically vivid but couldn't sustain a whole movement.
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Though Messiaen's language abounds in contemporary music complexities, the sheer sound is often wondrously beautiful, almost harmonically holistic.
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Mr. Ma's warm, dusky playing of this lyrical stretch was wondrously cushioned by the orchestra's harmonically ambiguous atmospherics.
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It's three women channeling a specific spirit and a method of romantic, introspective, positive and harmonically sophisticated R&B.
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Mr. Jones is a straight-ahead trumpeter from the Freddie Hubbard school of improvisers: fleet, boisterous and harmonically minded.
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His harmonically sophisticated, jazz-inflected guitar playing established him as a mainstay of the Chicago scene, and a true original.
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Jazz Mr. Jones is a straight-ahead trumpeter from the Freddie Hubbard school of improvisers: fleet, boisterous and harmonically minded.
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" Mr. Ritz said that the two shared "an orchestral view of soul music" that was "very lush and harmonically complex.
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" He added, "The musical language is not simple for Western listeners because it is harmonically and melodically from another place.
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"Disrespectful" is harmonically similar to the already-gothic "X" but has a faint, out-of-key drone creeping away in the background.
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After a turn from Jen Shyu on vocals, Matt Mitchell takes a piano solo, more legato and harmonically satisfying as it unfurls.
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At it's most basic level techno can be some sort of experiment with harmonically unmodulated music with a kick to make it danceable.
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The International Contemporary Ensemble, conducted by Peter Rundel, will perform the harmonically pungent work, written for four vocalists, small chorus and chamber orchestra.
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Berg's early Piano Sonata — a harmonically elusive, almost Expressionist work — sounded here like something Brahms might have composed had he lived another decade.
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Zeitlin has been stretching this classic format since the 1960s, when he first began making engrossing, harmonically striated, propulsive albums for Columbia Records.
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This short work, dedicated to John Cage, is a subdued study in soft, keyboard-spanning tremolos that create harmonically shifting spans of sound.
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A simple G major arpeggiated chord played expressively on the cello opens a short, but harmonically and melodically rich, 42 measures of music.
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"Sex with me is amazing, with her it'll feel alright" similarly uses more of the "right" notes harmonically than the majority of the vocal.
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"Take Me to Harlan" arrives in a more acoustic guise, accompanied by Fleck's stark (and harmonically audacious) banjo syncopations and Ms. Washburn's clog dancing.
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But the second, composed in a single movement in 1952 and long thought lost, is, while still highly lyrical, more concentrated and harmonically adventurous.
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The Israeli guitarist Gilad Hekselman has a vision of modern jazz that's harmonically fluent but not averse to simple melody or gentle, approachable effect.
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Even something as grave as "Jaleel's Space Ride" moves quickly from its anxiety into harmonically tricky dreams of aliens, sung over a bouncy keyboard line.
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On this album, the importance of the fusion guitarist Ralph Towner and Jim Hall, the master of harmonically rich, 20th-century jazz guitar, becomes clear.
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His solo music sounds like what you'd expect given the bass guitar on Flying Lotus albums: airy, bewildered, soul-inflected expanses of harmonically warped space.
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At the point when Washington got the call, he had been spending most of his time trying to master harmonically demanding songs like Coltrane's ''Giant Steps.
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Spiky drum machines brightly underpin linear sonic juxtapositions, as harmonically bent funk guitar intertwines around sped-up keyboard presets, interrupted by strategic bursts of ambient noise.
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A The Waco Brothers: Going Down in History (Bloodshot) Ten songs in half an hour with little to distinguish them formally or harmonically but plenty emotionally.
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The piano playing of this 16-year-old prodigy is lyrical and harmonically layered, and he packs each solo with miniature moments of pleasure and payoff.
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The best-known tune from "Gaucho," Steely Dan's last album before a long hiatus, was also the most spirited — and one of the least harmonically recherché.
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"It is all a matter of giving the soloist more freedom to explore harmonically," Mr. Tyner said in 1963, when the quartet was in its prime.
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They're powerful, harmonically elemental, and easy to remember, so no matter how aurora borealis dazzling her arrangements get, Björk is singing melodies that a toddler could memorize.
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The access to harmonically rich sounds digitally is kind of incredible these days, but damn if it isn't making most everything contemporary sound more homogenous than ever.
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But if Schoenberg's music tries to push against the bonds of tonality, Schreker's, while just as harmonically restless, seems more willing to bask in sumptuous diatonic sonorities.
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Harmonically, the song would actually be a sad one if it weren't for the last minute scramble to its root chord and home key of D major.
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So the shape that gets created when you vibrate it at 432 is closer to the proportion of phi ratio, and harmonically with your brain, it works better.
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The Crave houses many iconic circuits in one small package, it can create harmonically rich, full sounds, and it's only $199, making it an easy, entry-level sell.
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"If you're writing without a sample, you're inclined to be more harmonically driven, and then you try to find some sort of line that complements that," says Hinton.
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Scriabin's Fantasy in B minor, true to its title, is a fantastical piece that audaciously shifts from episodes of milky, harmonically murky lyricism to unhinged bursts of incandescent runs.
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We're excited to share the title track on THUMP today, which finds Aaron Leitko and Mike Petillo pairing a discomfortingly isolated techno kick with a harmonically crystalline, meditative atmosphere.
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A white actress puts on a helmet crowned with an eagle and snarls a German cabaret song, while the black performers who sing back at her are resisting harmonically.
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Perhaps more than any other pianist, Ms. Allen's style — harmonically refracted and rhythmically complex, but also fluid — formed a bridge between jazz's halcyon midcentury period and its diffuse present.
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Here are three of the finest practitioners of the kind of jazz that grows thick on the ground at the Gallery: adroit, harmonically buoyant, loaded with multiple ideas per moment.
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As usual, the music (and Sumney's voice) is gentle and soulful enough to be enjoyed as soothing background music, but harmonically sophisticated enough to reward intense, nerdy listening ("Quarrel," phew!).
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But sometimes it distracts from the richness of Mozart's harmonically intense and complex music during the many intricate ensembles in which the lovers go through moments of genuine confusion and torment.
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She later became one of the first pianists since the 1950s to make a commercial recording with the free-jazz pioneer Ornette Coleman, who typically found piano players too harmonically restrictive.
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For the price of a donation, however generous, a chance to hear Carlo Gesualdo's writhing, harmonically outlandish Tenebrae responsories (1611), along with organ improvisations from the church's music director, Daniel Hyde.
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The song, which imaginatively adds a solo flute to the mix of voice and piano, is really an 11-minute dramatic monologue, rendered with harmonically tart, shifting and effectively understated music.
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Rammstein's sound is still heavy—occasionally, as on "Tattoo," it makes you feel as though you were being flattened by an asphalt paver—but "Radio" is Rammstein at its most harmonically adventurous.
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On his debut EP, "blistering," Josiah Wise — who records as serpentwithfeet — serves up gothic, spacious, harmonically rich testimony on songs that throb and gasp and come off like well-intentioned, brokenhearted scolds.
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The concluding passages quote, in a harmonically unconventional way, the motif from Beethoven's song cycle "An die ferne Geliebte," a theme that also appears in the Fantasy's first movement and unifies the work.
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It's easy to hear the similarities in chord structure between "Taurus" and "Stairway"'s openings: both riffs have the same harmonically defining, descending notes on the guitar's D-string at the same tempo.
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In particular, the themes for Han and Leia's romance and Luke and Leia's familial bond are some of the most gorgeous and harmonically complex pieces Williams wrote for any movie he worked on.
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A small band of keyboards, bass, accordion, trumpet and guitar plays a thinned arrangement of Mr. Webber's score, and without all the big-orchestra plushness, some harmonically pungent details came through with striking clarity.
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"His real love was setting some of the world's greatest poetry to his own harmonically complex, fantastically atmospheric music," Tom Lutz and Laurie Winer wrote in a tribute in the Los Angeles Review of Books.
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When a stable sound is sustained for a longer time, and when the sound is harmonically stable (in the sense that it is completely in tune), the sound locks in the space in a unique way.
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JOANNE BRACKEEN QUARTET (Friday) A harmonically astute and occasionally daring pianist, Ms. Brackeen works here with the diligent saxophonist Javon Jackson and the supportive rhythm section of Ugonna Okegwo on bass and Rudy Royston on drums.
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It's called "Promethean," and it tells you what you need to know about him: Harmonically, he's got a bright and tangy palette; rhythmically, he shifts gears easily and often, weaving in traffic and keeping you engaged.
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Her streamlined poise, evident in both her singing and her harmonically astute guitar solos, extended to her leadership of an alert young band with James Francies on piano, Linda Oh on bass and Kendrick Scott on drums.
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She foregrounds musical elements that code exotic (oud, kazoo, Asian percussion, high, squiggly keyboard) and fit in harmonically, as suits an album whose songs concern, dwell on, or simply project signifiers relevant to borders, refugees and othering.
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The tunes are harmonically snaked and rhythmically relentless; they highlight the horn players' teasing interplay, and keep the stellar rhythm section — the pianist Ethan Iverson, the bassist Joe Martin and the drummer Billy Hart — on the move.
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Symphony, jointly commissioned by the Los Angeles and New York Philharmonics, goes through dramatic contrasts, from stretches of gnashing intensity with hurtling rhythmic bursts to passages of harmonically tart yet hymnal calm, and even a jittery, slicing scherzo.
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Here, the soundtrack is equally quizzical and ominous, with strings sonorities that tremble, then splinter into strands and linger on harmonically "off" clusters — all effects conveyed vividly by the Philharmonic under Mr. Brunt, a frequent collaborator with Mr. Greenwood.
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"Vaca Muerta must grow harmonically so it is possible to produce, transport and sell without problems," the secretary said, adding that some producers have achieved large production cost reductions, overcoming one of the play's biggest obstacles to growth in recent years.
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The mud-brown frog is barely the size of a shelled pecan, but his call is large and dynamic, a long downward sweep that sounds remarkably like a phaser weapon on "Star Trek," followed by a brief, twangy, harmonically dense chuck.
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The fifth and final movement came across as a mercurial rondo that shifts from stretches of harmonically raw vehemence to subdued yet swinging passages that Mr. Bell, backed by Mr. Gilbert and the orchestra, played with an eerily spectral quality.
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"Battle Against a True Hero" goes over the top with a confluence of jittery hooks that recall a sped-up, harmonically plainer bastardization of 19th-century classical kitsch, played on instruments whose textural range includes crunchy, bleepy, glittery, and vaporous.
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I'm kind of obsessed with this image of Max playing these peaceful melodies to himself, layering one precisely over the next, thinking of music both horizontally (melodically) and vertically (harmonically) as we would when writing out counterpoint compositions on staff paper.
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Mr. Lewis and Mr. Taylor appear here on a three-part bill that includes another noteworthy duo — Pheeroan akLaff on drums and Mikan Nitta on the shakuhachi, a Japanese flute — and the Rob Reddy Ensemble, which will play the bandleader's harmonically adventurous compositions.
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The group playing this Wednesday is a trio featuring three esteemed, New York-based improvisers with a long history of collaboration: the dark-toned, harmonically sophisticated guitarist Ben Monder, the undersung saxophone titan Tony Malaby and the roving, idiosyncratic drummer Tom Rainey.publicrecords.
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Perhaps the composer's most seamless and harmonically daring score, the opera has only one real aria, "Ch'ella mi creda libero," when the bandit Dick Johnson, facing hanging, pleads with the miners to keep the truth about his demise from Minnie, the saloon owner he loves.
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In that year he was still experimenting with a variety of bands (Red Garland, Kenny Burrell and Donald Byrd were some of his side musicians) while settling deeply into a harmonically complex style, one that would define his output in the years immediately ahead.
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Embracing everything from peppy minimalist bebop (she was one of the first female musicians to master that harmonically sophisticated brand of jazz) to Gershwin to a lush Debussy-influenced impressionism, she never forsook her jazz roots, and she maintained a strong attachment to the blues.
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"Harmonically and melodically, those songs are all very much of their period: late 1930s, early 1940s," explained the orchestrator Martin Lowe, who had worked with Mr. Tiffany on "Once" and was tasked with turning the animated film's small repertoire of classics into a full score.
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With a crisp, harmonically rich attack, Mr. Mabern carries the mantle of a piano tradition that runs through Ahmad Jamal and Phineas Newborn Jr. From time to time, Mr. Mabern holds court for a weekend at Smoke, presenting his grooving, varnished brand of hard bop with a small group.
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"Herman Kolgen has presented a new installation, H-Phase, where an organ played harmonically thanks to wind data, and Olivier Ratsi has presented a new installation at the Fine Art Museum from his Echolyse series, called Pêle-Mêle, produced by Tetro+A, a new creative partner of Mirage Festival," he adds.
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That careful, deliberate, haunting synth-whistle that keeps fading in and out lends the song a fragile, vulnerable, doomed beauty, and the lower, crunchier flavors of keyboard that underpin it harmonically keep the beat going when the whistle drops out entirely, leaving only West's moans and mumbles and animal cries.
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Most pop music appeals harmonically to humanity's consistent desire for familiarity by using the same four chords—a fact that literally any self-respecting Music Snob will repeat very loudly at a party whose playlist is deemed disappointing for its lack of Justin Vernon (spoiler alert: he uses them too).
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It results in improved intonation and stronger harmonically related partials across the player's range.
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A very short alto recitative, "'" (Finally! Since You have established us as Your people), is harmonically "adventurous".
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693 The turnaround may lead back to this section either harmonically, as a chord progression, or melodically.
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Klimax is the > most harmonically original and sophisticated popular music band in Cuban > history.—Moore (2010: v. 5: 21)Moore (2010: v. 5: 21).
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Other source separation methods rely on training or clustering of features in mono recording, such as tracking harmonically related partials for multiple pitch detection.
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Singing coro requires great accuracy, both rhythmically and harmonically. The coro singer's function in a band is more like an instrumentalist's than a singer's.
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Harmonically this movement does not do much out of the ordinary. He starts the Menuet in A major (I) and at the second section transitions us to E major (V). He ends the Menuet section on a I chord and then we have, what is possibly the most harmonically exciting part of the movement, the Trio. Initially the Trio begins on a major VI chord (F#) which is a bit jarring after A major.
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Erfurt bell (1497)Musical Association (1902). Proceedings of the Musical Association, Volume 28, p.32. Whitehead & Miller, ltd. or any harmonically- tuned bell in musical notation. John Alexander Fuller-Maitland (1910).
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It allows DJs to save and remember which songs are good matches (like a personal, digital mixing journal) and to plan entire mix sets. One of its uses is to assist in a DJ technique called harmonic mixing. Once the musical key and BPM is known for a set of songs, DJs can use music theory (such as the Circle of Fifths) to identify songs that are harmonically compatible. The act of mixing harmonically can help eliminate dissonant tones while mixing songs together.
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The High Life And Hard Times of Charlie (Yardbird) Parker, by Ross Russell, p. 89-92, Da Capo Press, 1996, 404 p. In the late 1930s the Duke Ellington Orchestra and the Jimmie Lunceford Orchestra were exposing the music world to harmonically sophisticated musical arrangements by Billy Strayhorn and Sy Oliver, respectively, which implied chords as much as they spelled them out. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop.
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In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You".
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' (, German for "Flea Waltz") is a simple piano piece, often one of the first learned because its fingering is simple and it allows beginners to perform a piece that is harmonically and rhythmically pleasing.
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Harmonically, it is the most innovative composition of Karłowicz. As the piece goes forth, the expression becomes more dramatic, more desperate, almost psychotic. One can speak of hysteria concerning what happens in the culminative bars.
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Carmen, Art Song in the United States, p. 313 His songs are typical of their time: dramatic, harmonically rich, and with full accompaniments. They often feature contrasting sections and a return to earlier musical material.
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Originally the middle eight was conceived as a guitar solo but altered during the recording process. Written in D major, the song revolves around a 1950s-style I-vi-ii-V doo-wop sequence in 12/8 time before moving to the harmonically complex middle eight (G-F#7-Bm-D7-G-E7-A-A7) and back again for the final verse and fade-out. William Mann describes the song as, "harmonically...one of their most intriguing, with its chains of pandiatonic clusters".Mann, William (1963).
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Paradoxically, because of its juxtaposition with the other three harmonically, tonally and rhythmically complex movements, Ives biographer Jan Swafford calls this most outwardly simple and conservative movement "in a way the most revolutionary movement of all".
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Since identifying whether songs can be made harmonically compatible can be quite complex (once features such as pitch lock are introduced), the software assists DJs by being able to show them which songs in their collection can be made harmonically compatible with any particular song. It can also assist DJs in the act of beatmatching by showing which songs are in a compatible BPM range, and the percent of BPM difference. Rapid Evolution is created and released through Mixshare.com. The metadata generated by Rapid Evolution is shared through the central servers at Mixshare.
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Elliot Mason (born 13 January 1977) is a jazz trombonist. He also plays the keyboard and the bass trumpet. He has been praised by such musicians as Michael Brecker for his technical facility and innovative harmonically complex improvisation.
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The Jazz Pianist: Left Hand Voicings and Chord Theory, p.6. . Harmonically, the song features a five-chord ragtime progression (I-VI7-II7-V7-I).Weissman, Dick (2001). Songwriting: The Words, the Music and the Money, p.59. .
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His debut album, Handmade Cities, which Vai described as "one of the finest, forward-thinking, melodic, rhythmically and harmonically deep instrumental guitar records [he has] ever heard", was released in 2016. Sunhead, an EP, was released in 2018.
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Dizzy Atmosphere is a jazz standard by Dizzy Gillespie originally recorded in 1945 with Charlie Parker. Harmonically, it is based on the chord progression found in George Gershwin's I Got Rhythm, or "rhythm changes" as referred to in jazz.
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Basically, here people are followers of Hindu and Boudhist religion. There are four varnas of the Hindu social order. All varnas of Hindu are living in this village harmonically. Brahmin, Kshetri, Vaishya and Shudra are staying in this village.
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The first two parts present distinct thematic material, while the third part combines the substance of the first two parts while adding new material of its own. Harmonically, the movement is largely polymodal, moving in the concluding section to F major .
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Harmonically, the song is complex, with the verses in the key of B flat, and the chorus in the key of D minor. An instrumental solo, in the related flat major key of E flat, serves as a bridge and outro.
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AllMusic stated: "At the time, Getz's cool, Lester Young-inspired sound was becoming more distinct and harmonically varied, featuring the beautifully mellifluous tone he would soon turn into his trademark. Getz's airy approach is optimally heard on Quartets' many ballad standards".
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Dave Brubeck cited Jones as an influence and said of him, "He didn't like to solo. Harmonically, though, he was one of the greatest players I ever heard."Len Lyons, The Great Jazz Pianists, Da Capo Press, 1983, p. 107.
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The Allmusic review by Scott Yanow awarded the album 4½ stars and stated: "Booker Little is generally the top soloist on the harmonically advanced hard bop date and he is in peak form throughout".Yanow, S. Allmusic Review accessed February 7, 201.
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The work is less fragmented and a deeper sense of order compared to some of his other works. Bright colored, grid-like structure exists harmonically in an infinite blue space. Yet, existing within it also is a sense of paradox and complexity.
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The orchestration is delicate and subtle, and it is entirely typical of Koechlin that although the piece is harmonically extremely audacious for its time (1913–19), the music is so subdued that its frequent polytonal or atonal basis might not be immediately apparent.
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Pérotin's Viderunt omnes, ca. 13th century. Of equal importance to the overall history of western music theory were the textural changes that came with the advent of polyphony. This practice shaped western music into the harmonically dominated music that we know today.
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The Minuet has no pick-up, the horns and trumpets come to the foreground in the Trio. For the most part, the winds support the strings harmonically. The last movement is a lively rondo with a stronger tendency to F major than to G major.
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Hence for an ideal, simple-harmonically vibrating bond, the vibrational spectrum contains no overtones. Of course, real molecules do not vibrate perfectly harmonically, because a bond's potential is not precisely quadratic but better approximated as a Morse potential. Solving the Schrödinger equation with the Morse potential for the molecule under consideration yields vibrational energy eigenstates with the interesting property that when one calculates transition dipole moments for various vibrational energy level transitions, the transition dipole moment is not zero for the transitions where ∆v=±2,±3,±4, etc. Thus, for real molecules, the allowed transitions are those for which ∆v=±1,±2,±3,±4, etc.
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It is also harmonically unusual because of its ambiguous tonality. This theme is repeated by the whole orchestra in a sudden and powerful fortissimo, which leads to the first theme climaxing in a brass chorale. At the beginning of the repetition, the cell-grupetto reappears insistently.Tranchefort, 919.
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Contemporary Chacareras generally utilize descending, minor-mode melodies within an octave range. They are not harmonically distinctive, relying predominantly on tonic and dominant accompaniment, and the occasional shift to the relative major. Some modern Chacarera musicians use major-seventh and other altered chords in their arrangements.
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This decision was as much musical as it was textual. Stravinsky's counterpoint required several musical voices to function simultaneously, independent melodically and rhythmically, yet interdependent harmonically. They would sound very different when heard separately, yet harmonious when heard together.Sachs and Dahlhaus, New Grove (2001), 6:564–569.
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Violating an anticipated structure in music could mean a harmonically unexpected note or chord in a musical sequence. As in language this is associated with a "processing cost due to the tonal distance" (Patel, 2008) and therefore means that more resources are needed for activating low- activation items.
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It is modelled after Frescobaldi's piece based on the same idea, Capriccio sopra il cucho, but is more structurally and harmonically complex. The idea of repeating a particular theme in Kerll's music reaches its extreme in the Magnificat tertii toni, where a fugue subject consists of sixteen repeated E's.
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In Beethoven's Fifth Symphony a four- note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main theme of the first movement. Two note opening motive from Jean Sibelius's Finlandia.White (1976), pp. 26–27. Machaut's Mass, notable for its length of seven notes.
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Whenever the hammer strikes the three conventional strings, the aliquot string vibrates sympathetically, adding to the complexity of the tone. This same string resonance effect occurs, on a more limited scale, when other notes on the piano are played that are harmonically related to the pitch of an aliquot string.
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It marks a concerted effort to update traditional Scottish music into the age of modern rock recordings. The sound is fundamentally more pastoral than previous Skids efforts. Gone are the layers of harmonically treated electric guitar. However, elements of this style were hinted at previously, particularly on the Strength Through Joy mini-album.
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Many of Jennifer Higdon's pieces are considered neoromantic. Harmonically, Higdon's music tends to use tonal structures, but eschews traditional harmonic progressions in favor of more open intervals. Avoiding specific key signatures allows for sudden, surprising harmonic shifts and modulations. Open perfect fifths and parallel fifths can be found in most of her compositions.
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A plot of a VFO's amplitude vs. frequency may show several peaks, probably harmonically related. Each of these peaks can potentially mix with some other incoming signal and produce a spurious response. These spurii (sometimes spelled spuriae) can result in increased noise or two signals detected where there should only be one.
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The composition is an irregular sentence of 128 bars in two strain lines. The first of the two, which make up the piece, has a mussete accompaniment, being the melody in the second strain supported by two other contrapunctual voices. Harmonically, this bass evokes the "musette" attached to many an eighteenth- century gavotte.
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It was their third album, following Logo and Two Lost Churches. The trio's sound was described by a reviewer for The Irish Times as "big-hearted, harmonically open music laid down over grooves from jazz and funk".Larkin, Cormac (22 August 2014) "Album Review: Marc Perrenoud Trio – Vestry Lamento". The Irish Times.
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The structure of the piece is unusually symmetric. It opens and closes with a duet including a chorale text. Harmonically, the piece begins and ends in C major, and the central movement is in D minor. The second movement modulates from A minor to F major, while the fourth movement mirrors this motion.
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A carillon-like instrument with fewer than 23 bells is called a chime. The first bell chime was created in 1487. Before 1900, chime bells typically lacked dynamic variation and were not harmonically tuned. Since then chime bells produced in Belgium, the Netherlands, England, and America have tuning to produce fully harmonized music.
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Since the instrument cannot play a chromatic scale nor be easily tuned to other pitches, it is very limited in its ability to play along with other instruments and/or more harmonically complex music. The combination of the lone melody string and the multiple drone strings gives the langeleik a distinctively rich sound.
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Dicionário do Folclore Brasileiro. Ediouro, Rio de Janeiro, 10ª ed., 1998 () baião mostly borrows harmonically from European music tradition and uses the minor mode and the major scale Ionian, Mixolydian, Lydian and Dorian modes, and the first, second, fourth and fifth scale degrees in chord progressions. The supertonic frequently appears with an augmented fourth.
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Billy Van is an American DJ and music producer from Bloomington, Indiana, where he studied recording arts at Indiana University. The Billy Van MashUps! was Billy Van's introduction as a mixer and producer. These tracks consisted of taking pop hits and reconstituting them together "harmonically and lyrically," with new vocals and his own production.
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Lee's followers compared him to James Dean, as the theme of several of his songs dealt with social deception and oligarchy. Lee's sound "experimented with a laid-back English balladic style, harmonically and rhythmically complex". It consisted of a blend of jazz, blues and rock and roll music of the time with classic Hawaiian music.
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The opening sinfonia is scored for oboe, strings, and continuo. It is in F major and common time. Compared to the later version for harpsichord, the melody is straightforward and unembellished, and is harmonically conceived to prepare the second movement. The second movement is a combined tenor aria and soprano chorale with obbligato strings.
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168–284, 11 measures longer than the exposition. The exposition's transition is altered harmonically in the recapitulation. Initially, the secondary theme is stated in F major (major subdominant), a "false start", before being stated in tonic C minor. The secondary theme is also expanded from the exposition. The essential structural closure is in m. 253.
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Intimate settings, such as smaller clubs, showcase this strength.The New York Times. Hall "carefully [chooses] a few notes instead, one after another, and placed them with the care of someone setting an elegant table." Although Hall is generally a leader, his excellent listening skills allow him to aid other musicians harmonically when required and staying silent when needed.
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The previous sluggish engine performance has been improved by a new "patented turbo combustion" cylinder head and special connecting rods. The troublesome crankshaft is now harmonically balanced. The gearbox has been fitted with a silent third gear or Traffic top. Speed and handbrake levers are now central and a tail lamp is supplied at no extra charge.
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The 6 minute finale is quick, dance-like and in rondo form. Harmonically, this movement is more clearly modal and less dissonant than the previous movement. This movement is full of imitation both as single solo voices and as a full ensemble. Variation of texture is again achieved by the contrast of solo voices and full orchestra.
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The music was also accused of being harmonically static and lacking distinctive melodies.James Ringo, "The Devils of Loudun," American Record Guide 38, no. 8 (April 1972): 340–45 quoted in Bio-Bibliography, 225–26.The sole source of the section on Reception is Cindy Bylander, Krzysztof Penderecki: a Bio- Bibliography (Westport: Praeger Publishers, 2004), 89–278.
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The Spitfire Grill is a complete work of theatrical resourcefulness. A compelling story that flows with grace and carries the rush of anticipation. The warm, indigenous American folk sound of Mr. Valcq’s score is, harmonically and melodically, as theatrical as it is grass roots. Mr. Alley’s lyrics accomplish the considerable feat of poetically offering inspiration while holding the syrup.
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Lutosławski's works up until and including the Dance Preludes clearly show the influence of Polish folk music, both harmonically and melodically. Part of his art was in transforming folk music, rather than quoting it exactly. In some cases, folk music is unrecognisable as such without careful analysis, for example, in the Concerto for Orchestra.Stucky (1981), p.
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Suite-fantaisie sur des themes populaires grecs (1930–31), Sinfonietta (1934) etc.) show the influence of his Russian training, and of Prokofiev's `Soviet' style. Later works, including the tone poem Orpheus and Eurydice (1962) and the Mazurka for piano (1963), are harmonically more adventurous, inviting comparison with the more radical Russian modernists such as Skriabin and Roslavets.
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The development comprises the bulk of the piece. Here the composer develops the subject by writing variations either melodically or harmonically. This usually involves the alternation of episodes with statements of the theme, similar to the development of a fugue. In minor- and major-mode inventions, the theme is typically restated in the relative major and the dominant, respectively.
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Only the last four movements of the piece are extant. The nineteen surviving bars of the fourth movement, an alto aria, demonstrate a rare bassoon obbligati and assume a combined ritornello- ternary form. The fifth movement is a bass recitative with only continuo accompaniment. It is a "harmonically adventurous", "forceful little movement marked by a robust melodic line".
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The first aria includes a flowing bass line and strong ritornello theme. The movement is in da capo form and features long melismas and a very high vocal range. The secco recitative is short but not harmonically cohesive. The final movement is also a da capo aria, with three lines of counterpoint and a complex keyboard part.
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61, which begins "Ruggier, qual sempre fui, tal esser voglio". Because the melody was so often improvised on, and is inevitably varied in the oral tradition, it is difficult to agree on an exact melody. The harmonic structure, however, has remained relatively unchanged. Harmonically the Ruggiero bass is major, generally in G, and has four short phrases.
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The process of deriving the weights that describe a given function is a form of Fourier analysis. For functions on unbounded intervals, the analysis and synthesis analogies are Fourier transform and inverse transform. Function s(x) (in red) is a sum of six sine functions of different amplitudes and harmonically related frequencies. Their summation is called a Fourier series.
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Harmonically, however, his music is of a markedly conservative strain. It bears the influences of the pan-modal style offered up by the Catholic Church style of the twentieth century Schola Cantorum, along with elements of Debussy and other composers thrown in to good effect. "Tres Cartas de Mexico", for example, practically quotes Debussy's Nocturnes for orchestra.
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The piece has a duration of approximately 22 minutes and is composed in four movements: #Allegro #Presto volando #Maestoso #Allegro agitato To compose the work, Carter split the orchestra into four harmonically juxtaposing sections designated by musical range: high, middle-high, middle-low, and low. Additionally, different percussion instruments were assigned to accompany each of the four sections.
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Hylodes japi male calling and performing visual displays with hind limbs in long-range agonistic context. Hylodes japi occurs at 850–1050 meters above sea level, near swift rivulets, in semideciduous, mesophytic forest. Although the species is diurnal, calls can also be heard at night during the breeding season. Males call sporadically; their advertisement call is harmonically structured.
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The "A-B-A" structure is topped off with a coda. The first section (36 bars), "Germanen durchschreiten des Urwaldes Nacht", is in D minor. The sharply dotted leaping octave motive at the beginning is a slightly altered variant of the Festive cantata Preiset den Herrn. The slower middle section (39 bars), "In Odins Hallen ist es licht", is the most adventurous harmonically.
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The most unstable section harmonically, this goes through the keys of C major, F minor, G minor, and returning to the original part in C minor. The recapitulation occurs from bar 100 to 168, this time the second subject is in C minor instead of the E-flat major of the exposition, and the coda ends the piece from bar 168 to 185.
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"Rochinski, Steve (1994). The Jazz Style of Tal Farlow: The Elements of Bebop Guitar Hal Leonard. Where guitarists of his day combined rhythmic chords with linear melodies, Farlow placed single notes together in clusters, varying between harmonically enriched tones. As music critic Stuart Nicholson put it, "In terms of guitar prowess, it was the equivalent of Roger Bannister breaking the four-minute mile.
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Mozart concertos are standard in how they move harmonically, as well as that they adhere to the three-movement form of fast–slow–fast: I. Allegro :The orchestra states both themes. The first is immediately present, and the second is introduced by the horn. Both themes fall under the conventional sonata form. The soli then re- work the already present themes.
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After 1976, the plate voltages were lowered slightly for improved reliability. But during the 1970s, Marshall's increasing exports overseas led to a problem: Often the EL34 tubes would break during transportation, to the point where amps began being shipped from the factory with more rugged Tung-Sol 6550 tubes, which are "stiffer and not as harmonically rich" as the EL34 tubes.
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A performer playing "outside" will use arpeggios ansd scales that are harmonically distant and thus more dissonant-sounding, such as a D arpeggio and a D major scale. Playing "inside" is more relaxed-sounding. Playing "outside" is more tense and even harsh-sounding. Conductors, bandleaders, or producers may ask performers to play "more inside" for certain songs, sections, or recordings.
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"Building up from arpeggios, he could create eddies of noise on the keyboard...like concise Cecil Taylor outbursts." In the description of Joachim Berendt, Pullen "uniquely melodized cluster playing and made it tonal. He phrases impulsively raw clusters with his right hand and yet embeds them in clear, harmonically functional tonal chords simultaneously played with the left hand."Berendt (1992), p. 287.
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Author of over 160 scientific publications in leading national and international publications. The author of a new method of optical phase difference for the Fourier spectrometer (FS) and the creator of the first prototypes of the FS using this method, for the NIR, visible and UV range. Software author, manager of FS, which uses modulation of the optical delay harmonically.
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Interior, seen from East Gethsemane Church, like Zion's Church, harmonically combines the outside impression of a longish shape, as typical for traditional (Roman Catholic) churches, due to their long inside nave and the centralised auditory hall, as typical for genuine Protestant church buildings.Sibylle Badstübner-Gröger, Michael Bollé, Ralph Paschke et al., Handbuch der Deutschen Kunstdenkmäler / Georg Dehio: 22 vols., revis.
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The text moves from a typical thanksgiving to encourage the listener to give honour to God. The tenor aria adopts the minor mode, despite the continued optimism of the text. Harmonically the movement consists of four contrapuntal lines created by the vocalist, continuo, and two oboes d'amore. Although there is no notated da capo, the music allows a recapitulation of the opening theme.
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There are several versions of "Butterflies and Hurricanes". For the original studio recording, the song's introduction, verse and choruses were harmonically driven by piano and keyboards. The single version contains both guitar and keyboard, but the interlude is slightly shorter, reducing the song from 5:01 to 4:48. The vinyl single includes a full-length version with guitars in the mix.
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Cimarosa's arias often speed up for the closing section, in the style of cabalettas. Providing contrast to the vocal display pieces, he often wrote quite simple arias in the manner of cavatinas. A feature of his scores is the sustained writing for concerted voices. In the words of the Grove article: Harmonically, Cimarosa was not innovative, remaining content with traditional diatonic conventions.
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His music is influenced by Italian and French styles; fugues and fantasias are reminiscent of Johann Jakob Froberger and quite a few pieces contain typical French registration indications: pieces for plein-jeu, fantasies pour cornet, for cromorne or dessus de tierce. Sectional preludes with alternating free and imitative counterpoint, harmonically rich and expansive, are reminiscent of the northern German organ tradition.
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335-336 The musical quality of Tristis est anima mea appears to rise above this, which is why the attribution to Kuhnau is considered doubtful, and why it seems reasonable to assume that Bach, judging on quality, reused it. Bach was known for "signing" many of his works with the notes B-A-C-H in key places ("B" is used in German for B flat, while "H" is used for B natural). In bars 36–38 the alto, as the only syncopated voice, sings B-A-C-H in a harmonically complicated cadence ending the first main phrase, followed by the text und niemand achtet darauf ("and nobody notices it"). The same passage in Tristis est anima mea (ad mortem, bars 28–30) is much simpler harmonically, both together offering a further indication of an arrangement of the piece by Bach.
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A narrow entry in the northern wall leads to this place. Architecture of Diri Baba mausoleum harmonically fits into picturesque surroundings of the building – view against the background of rocks and greenery of trees. The building of the mausoleum is a masterpiece of the architectural school of Shirvan and a beautiful creation of arts of ancient masters. The monument is protected by the government.
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Of the eleven extant motets, ten are scored for two four-part choruses. Most of this music is harmonically simple and makes little use of complex polyphony (indeed, the polyphonic passages frequently feature reduction of parts). The texts are taken from the psalms, except in Nun danket alle Gott which uses a short passage from Ecclesiastes. The motets are structured according to the text they use.
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"Don't Talk (Put Your Head on My Shoulder)" is about non-verbal communication between lovers. According to Asher, "It's strange to sit down and write a song about not talking ... but we managed to do it and it came off well." The track features a string sextet and passing tones within diminished chords. It is among the most harmonically complex songs that Wilson ever wrote.
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Rothery has described his own style on the guitar as a mix of Andrew Latimer, Steve Hackett and David Gilmour. He has also cited Joni Mitchell as an influence, especially her use of open tunings, which he believed created a very harmonically rich sound. He has cited Mitchell's "A Case of You" as one of the songs that had the biggest influence on him.Interview with Steve Rothery.
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The 8-minute-long second movement is very slow and dark music. The movement is presented in ternary form, another neoclassical influence. Harmonically and melodically, it is less traditional and less oriented to the neoclassical style than the previous movement, at times, stretching tonality to the brink of atonality. The movement's three themes are imitated, frequently while another voice has yet to complete its melodic phrase.
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The Allmusic review by Scott Yanow stated "The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music has plenty of magic".
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Often the semitone was exploited harmonically as a caustic dissonance, having no resolution. Some composers would even use large collections of harmonic semitones (tone clusters) as a source of cacophony in their music (e.g. the early piano works of Henry Cowell). By now, enharmonic equivalence was a commonplace property of equal temperament, and instrumental use of the semitone was not at all problematic for the performer.
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It featured 6-voice polyphony, one voice per string and 2 oscillators per voice. Each pair of VCOs were harmonically locked to each string but could be tuned separately to play different pitches. The GR-300 also featured a VCF with variable lengthsweep up and down, and an LFO. Each string had an enable-disable switch as well as a string sensitivity switch (basically audio compression).
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The second suite is in C minor, with only the first rondeau of La Citherée being in C major. La belle Brune ("The Pretty Brunette") is followed by the binary Sarabande La Prude which is serious in tone and complex harmonically. L'Enfantine refers to a "child-like" manner, demonstrated by frequent shifts of range. Both the first and second rondeaux of La Citheré are unnamed gavottes.
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In a BBC Radio interview, Lynne talked about writing "Mr. Blue Sky" after locking himself away in a Swiss chalet and attempting to write ELO's follow-up to A New World Record: The song's arrangement has been called "Beatlesque", bearing similarities to Beatles songs "Martha My Dear" and "A Day in the Life" while harmonically it shares its unusual first four chords and harmonic rhythm with "Yesterday".
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20 of 1882), a small amount of songs, and a great deal of piano music.Dawes, Frank.'Matthay, Tobias ( Augustus )' in Grove Music Online, 2001' His 31 Variations and Derivations on an Original Theme for piano, written in 1891 and revised till 1918, was one of his last important early period works. Showing the influence of both Liszt and Wagner, it was considered harmonically daring when first composed.
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Waltz in C-sharp minor performed by Luke Faulkner "Amies-ennemies" is a song recorded by the French R&B; singer Nâdiya. It was released as the third single from her third studio album, Nâdiya, on October 30, 2006. The song is harmonically based on the second theme of Frédéric Chopin's Waltz Op. 64, No. 2. It was a top five hit in France and Belgium (Wallonia).
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The year of "FM"'s release, 1978, was the first year that FM stations topped their AM counterparts in total listeners. Many of the latter did not want to promote their competition, but still had to play the song, so they spliced in the harmonically compatible "A" from the chorus of the song "Aja" (never released as a single) to make the chorus say "AM" instead.
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Whittaker's pair of papers in 1903 and 1904 indicated that any potential can be analysed by a Fourier-like series of waves, such as a planet's gravitational field point-charge. The superpositions of inward and outward wave pairs produce the "static" fields (or scalar potential). These were harmonically-related. By this conception, the structure of electric potential is created from two opposite, though balanced, parts.
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While working with Schnapf on Stay What You Are, Conley learned that he was writing songs out of his vocal range. He subsequently learned how to sing notes naturally as opposed to forcing them. Conley's voice subsequently changed for In Reverie. Comparing the material to that of Stay What You Are, Conley described the songs as being "more harmonically intricate" as well as "more complicated melodically".
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A grace note is a kind of music notation denoting several kinds of musical ornaments. It is usually printed smaller to indicate that it is melodically and harmonically nonessential. When occurring by itself, a single grace note normally indicates the intention of an acciaccatura. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending on interpretation.
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The Gadfly Suite, Op. 97a, is a suite for orchestra arranged by Levon Atovmyan from Dmitri Shostakovich's score for the 1955 Soviet film The Gadfly, based on the novel of the same name by Ethel Lilian Voynich. Atovmyan's suite differs markedly from the original: the orchestration is more colorful and economic, certain sections have been transposed harmonically, and he inserted newly composed connecting passages.
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Trend, 163. His works have undergone a revival in the 20th century, with numerous recent recordings. Many commentators hear in his music a mystical intensity and direct emotional appeal, qualities considered by some to be lacking in the arguably more rhythmically and harmonically placid music of Palestrina. There are quite a few differences in their compositional styles, such as treatment of melody and quarter-note dissonances.
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The polished surfaces are often mistaken for brinelling, although no actual damage to the bearing exists. The false brinelling will disappear after a short break-in period of operation. Fretting wear can also occur during operation, causing deeper indentations. This occurs when small vibrations form in the rotating shaft and become harmonically in sync with the speed of rotation, causing circular oscillations in the shaft.
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Musicians on Transformation included DeMarco Johnson (keyboards), Court Clement (guitar) and Calvin Turner (bass, string and horn arrangements). The album was recorded in a house in Nashville. Winters was featured on TBS Entertainment's Sound Check in 2009. Nashville Scene reviewed the album by saying, "Harmonically sophisticated, Transformation is a commercial funk record that effortlessly combines banality and exactitude in its search for a plausible heaven".
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Second theme of the first movement. The second theme, in A major, is also primarily pentatonic, but ornamented with melismatic elements reminiscent of Gypsy or Czech music. The movement moves to a development section that is much denser harmonically and much more dramatic in tempo and color. Fugato at end of development The development ends with a fugato section that leads into the recapitulation.
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It has five stairways harmonically distributed around its perimeter. A wall that ends on top has small cruciform windows. Probably this was a ceremonial center dedicated to Quetzalcoatl, central image of the Toltec culture. The shaft tombs are the most representative funeral constructions of the area, although there are other modalities such as "shaft tombs" or earth graves where dead people were barely buried near the surface.
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The inserts composed by Stockhausen were intended to unify all of the performers by verticalizing the musical events, harmonically and rhythmically. The performance was arranged to begin before the audience began to arrive, and ended with each composer-instrumentalist pair leaving the gymnasium one after another, still playing in the back of cars as they drove away, to meet again at 2:00am twenty miles away .
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For analogue cable in Ireland there was no set frequency plan. Most cable networks for analogue used Harmonically related carriers (carrier frequencies of exact 8 MHz multiples). Some cable networks such as Limerick used Irish terrestrial channel alignments or even a mixture of the two-channel plans. Digital cable operates using DVB-C, although encryption, as well as other platform details varies by provider.
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Bassist Mike Gordon wrote a number of compositions for the Phish catalog, beginning perhaps with "Minkin" from The White Tape. His compositions are marked by humorous lyric content and a straightforward musical style. The title track of Round Room is a Gordon- penned piece with a more rhythmically and harmonically complex style. Lead vocalist Trey Anastasio's boyhood friend and schoolmate Tom Marshall was the primary lyricist for Phish.
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The piece is in the AABA CC trans D AC'C'coda form, in which the musical material of the beginning returns to close the piece after a contrasting middle section. The opening is a sombre, long- breathed melody. The cello carries the main thematic material, with piano providing a harmonically varied accompaniment. In the major-key middle section the piano bears the melodic theme before it passes to the cello.
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It is very important to avoid input signal overload when using an anti-aliasing filter. If the signal is strong enough, it can cause clipping at the analog-to-digital converter, even after filtering. When distortion due to clipping occurs after the anti-aliasing filter, it can create components outside the passband of the anti-aliasing filter; these components can then alias, causing the reproduction of other non-harmonically related frequencies.
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Olsen wrote a significant amount of large choral pieces, orchestral works, and songs. In the 1920s, his music was primary inspired by Norwegian folk songs and is considered harmonically influenced by Norwegian composer Edvard Grieg. His later music is miniaturist in nature, his compositional style likened to that of Fartein Valen, his compositional instructor. In the 1930s, he composed large instrumental works inspired by Norwegian poet Olav Aukrust.
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Moore describes the chord changes as: "addictive and harmonically ambiguous vamp for the entire montuno section. Arguments could be made for various keys, but to me it sounds like bIII – IV – I – bVI in A. Like the best rock vamps, it never quite resolves, allowing for endless repetitions without losing energy."Moore, Kevin (2010). Beyond Salsa Piano: The Cuban Timba Revolution; v 3: Cuban Piano Tumbaos 1960-1979 p. 24.
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'Gabriel Faure plays Pavane, Op. 50, 1913 Welte Mignon recording.'. YouTube. Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a cultured but not especially musical family.
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Many of the characteristics discussed above are especially prevalent in Dusapin's earlier works, especially those from the 1980s. Beginning in the next decade, Dusapin's work moved more and more toward greater harmonic and melodic simplicity.Anderson, "Dusapin, Pascal", 252. Paul Griffiths notes that Dusapin's works from the 1990s are more harmonically conceived than his previous music, and that they incorporate more folk traditions, including the use of drones and modes.
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She was particularly interested in choral writing and her unconventional use of diverse vocal timbres resulted in unique and innovative work. She became musically renowned for her beloved choral arrangements of Chinese folk songs. For example, her most famous piece “Pastoral” is a four-part vocal work based on the Dongmeng folk song “Throwing Sticks.” In this piece, Xixian employs Western tonality and harmonically- driven melodies in conjunction with polyphonic interweaving.
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It > is as if a building which has been painstakingly put together over a long > time suddenly shatters into thousands of fragments.Kaczyński (1984), p. 37 Harmonically, the climax of this piece is marked by a twelve-tone chord based on 5ths and 6ths that falls away and almost immediately makes another effort. This too is ultimately unsuccessful, and softer and softer chords lead to the end of the piece.
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In the case of a purely resistive load, the resistance of the driver should be equal to the resistance of the load to achieve maximum output power. This is referred to as impedance matching. ; Intermodulation distortion (IMD) : Distortion that is not harmonically related to the signal being amplified is intermodulation distortion. It is a measure of the level of spurious signals resulting from unwanted combination of different frequency input signals.
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In 2004, Wave – a Slovak Radio Symphony Orchestra CD devoted to Beck's music – was released on the Innova label. This recording includes his four-movement Sinfonietta for string orchestra, "a harmonically inventive, thoroughly engaging work." The disc also includes his operatic soliloquy, Death of a Little Girl With Doves, for soprano and orchestra. This "deeply attractive" composition is based on the life and letters of the sculptor Camille Claudel.
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" Author Rikky Rooksby in his book, The Complete Guide to the Music of Madonna, called it harmonically the most complex track of her debut album. Stephen Thomas Erlewine from AllMusic called the song effervescent. Sal Cinquemani of Slant Magazine called the song soulful. Commentator Dave Marsh in his book, The Heart of Rock & Soul, said that the "music's too damn good to be denied, no matter whose value system it disrupts.
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In this 1955 version Sinatra gives a more mature reading to the lyrics. Riddle brings a rich arrangement to the harmonically simple song, which assists the mood presented in the album. "What Is This Thing Called Love" is noted by Charles Granata for its "most expressive vocal shading". Sinatra's voice approaches the bass range at times, and the interpretation is noted for the lyrical liberties Sinatra takes with Porter's lyrics.
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In mathematics, a Fourier series () is a periodic function composed of harmonically related sinusoids, combined by a weighted summation. With appropriate weights, one cycle (or period) of the summation can be made to approximate an arbitrary function in that interval (or the entire function if it too is periodic). As such, the summation is a synthesis of another function. The discrete-time Fourier transform is an example of Fourier series.
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The dances are arranged in miniature suites. Each of the five pavanes (five alla venetiana, four alla ferrarese) is followed by a saltarello and a piva that are thematically and harmonically related to it. Other groupings include pairs of tastar de corde with a recercar dietro. Some pieces, such as Caldibi castigliano and those titled Calate ala spagnola, show Spanish influence, possibly because of vihuela cultivation in 16th century Italy.
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The "Qui Tollis" movement of RV 589 is rhythmically similar to the first few measures of RV 588 (and ultimately RV Anh. 23). The last movement, "Cum Sancto Spiritu," is essentially an "updated" version of movement present in both RV Anh. 23 and RV 588, except extensively harmonically modified, becoming more chromatic than its predecessors, reflecting a maturity in Vivaldi's output and the emerging style of the late Italian Baroque.
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When it is played in a damped way it can change in pitch similar to a talking drum. On the top are seven or eight notes arranged in a tone circle in zigzag fashion from low to high. All are tuned harmonically (with fundamental, octave and the fifth above the octave) around a low note (Ding) at the center of the tone circle. Each creation is numbered and signed.
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A change took place in Tubin's style at the end of the 1940s; the music became harmonically more astringent. The finale of the seventh symphony makes much use of a theme with all twelve notes, though it is tonal. The shift to a less nationalistic and more international style came after Tubin had fled Estonia to Sweden. Conductor Olav Roots, Eduard Tubin and double-bassist in Stockholm Concert Hall in 1947.
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First theme of the first movement, played by the Seraphina Quartet. The opening theme of the quartet is purely pentatonic, played by the viola, with a rippling F major chord in the accompanying instruments. This same F major chord continues without harmonic change throughout the first 12 measures of the piece. The movement then goes into a bridge, developing harmonically, but still with the open, triadic sense of openness and simplicity.
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Usage of art form and choice of motives are varying but she remains primarily focused on (harmonically depicted) people. Drell has exhibited her paintings since 1995 at dozens of group and personal exhibitions. In 2001 she won the Miami International Fine Arts College Young Visual Artist Award and in 2008 the SMV- prize in the Estonian Artists Union’s annual exhibition. From 2005 she has been a member of the Estonian Artists Union.
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Other works include the orchestral tone poem Im Sommerwind (1904) and the Langsamer Satz (1905) for string quartet. Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today.
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Function s(x) (in red) is a sum of six sine functions of different amplitudes and harmonically related frequencies. Their summation is called a Fourier series. The Fourier transform, S(f) (in blue), which depicts amplitude vs frequency, reveals the 6 frequencies (at odd harmonics) and their amplitudes (1/odd number). The sine and cosine functions are fundamental to the theory of periodic functions, such as those that describe sound and light waves.
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Acoustic instruments can be split into six groups: string instruments, wind instruments, percussion, other instruments, ensemble instruments, and unclassified instruments. String instruments have a tightly stretched string, that, when set in motion creates energy at (almost) harmonically related frequencies. Wind instruments are in the shape of a pipe and energy is supplied as an air stream into the pipe. Percussion instruments make sound when they are struck, as with a hand or a stick.
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Only seven pieces by Wilhelm Hieronymus survive, all of them for keyboard. While three show the influence of his father (the Toccata in G major, the chorale partita on "O Lamm Gottes, unschuldig", and the fugal prelude to Fantasia super Meine Seele, lass es gehen), in the remaining works Pachelbel shows a preference for technique that is harmonically and contrapuntally simpler, influenced by the emerging Classical style. Two such pieces were published by Pachelbel himself.
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In the plagal cadence, it appears as the falling of the subdominant to the mediant. It also occurs in many forms of the imperfect cadence, wherever the tonic falls to the leading-tone. Harmonically, the interval usually occurs as some form of dissonance or a nonchord tone that is not part of the functional harmony. It may also appear in inversions of a major seventh chord, and in many added tone chords.
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10–11 (consisting of two consecutive, chromatically descending figures, the second slightly higher than the first) is very similar to the main motif of Chôros No. 10, but this relationship is skilfully disguised by uniting it with the flute's slower figure . Harmonically, the course of the work is produced by the interaction between diatonic structures on the one hand and more complex pitch collections drawn from the chromatic, whole-tone, and octatonic scales .
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The Muffins had minor success on RCA Records with the single "Subway Traveler". During its year of existence, the band did one week residencies at the Trauma, a psychedelic club in Philadelphia, with acts like the Velvet Underground. After the Muffins disbanded, Frank Zappa heard Moore play solo and considered his songs harmonically advanced for the time. Zappa brought Moore to New York with the intention of signing him to his label, Bizarre Records.
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This organisation was the practical consequence of the fascist ideal for industrial relations in a corporate state. In it, all the workers, called "producers," and their employers had the right to choose their representatives through elections. In this organisation, workers and employers supposedly bargained equally. Strikes were forbidden and firing a worker was very expensive and difficult, as the fascism had "bettered capitalism" and had "succeeded in harmonically balancing workers' and employers' interests".
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The last movement "begins slowly and gropingly," with "the most melancholy moments in the entire work."Conrad Wilson: Notes on Brahms: 20 Crucial Works (Edinburgh, Saint Andrew Press: 2005) p. 32 An introduction begins this movement, which is harmonically reminiscent of Beethoven's late string quartets. After a cadence on the dominant C, the cello introduces the first theme of the sonata-allegro, which owes its simplicity to Brahms's interest in Hungarian folk music.
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All three suites of Mixed In Key's software, Mixed In Key, Platinum Notes, and Mashup, are used by world-renowned artists. All three software suites are available for both PCs and Macs. Mixed In Key is the original software from Mixed In Key LLC, the software analyzes the harmonies and melodies of the selected music. For every track it shows the musical key and helps choose tracks that are harmonically compatible with each other.
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String Quartet No. 1 in C minor is remarkable for its organic unity and for the harmonically sophisticated, "orchestrally inclined" outer movements that bracket its more intimate inner movements. The quartet consists of four movements: The String Quartet No. 2 in A minor, also highly unified thematically, is comparatively lyrical, although culminating in a dramatic and propulsive finale whose tension "derives...from a metrical conflict between theme and accompaniment."Donat, Misha (2007). Liner notes.
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The song is harmonically active, with chord changes almost every measure. The opening four notes are identical to the opening notes of Peg o' My Heart (1912)—at the time songwriters often borrowed the first few notes of a hit melody. The song was so popular that the sheet music was later decorated with tiny photographs of the 45 men who made the song famous, including Paul Whiteman, Rudy Vallée, B.A. Rolfe, Guy Lombardo, and Louis Armstrong.
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The dramatic opening is based on the music from Figaro: a free paraphrase of "Non più andrai" followed by an arrangement of "Voi che sapete" in A-flat major instead of Mozart's B-flat major. This is the only appearance of Cherubino's music. Figaro's aria returns, initially in its original C major, but is quickly varied both harmonically and pianistically. However, instead of proceeding to Mozart's coda, the aria transitions to the dances from Don Giovanni.
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A stone dropped in such a tunnel oscillates harmonically with Schuler's time constant. It can also be proved that the time is the same constant for a tunnel that is not through the center of Earth. Such a tunnel has to be an Earth-centered ellipse, the same shape as the path of the stone. These thought experiments (or rather the results of the corresponding calculations) rely on an assumption of uniform density throughout the Earth.
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In Reinvere’s other works, one often finds genre borders crossed and various techniques combined, for example the incorporation of documentary material into aesthetically through-composed music by means of Musique concrète. Thus, his Livonian Lament (2003) uses sound recordings from the Livonian Coast, commemorating the slow death of the Livonian language, long marginalized. Harmonically, his early Double Quartet with Solo Piano of 1994 still offers clear references. Later works maintain such tonal conceptions, but they are less obvious.
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Oscillator sync is a feature in some synthesizers with two or more VCOs, DCOs, or "virtual" oscillators. As one oscillator finishes a cycle, it resets the period of another oscillator, forcing the latter to have the same base frequency. This can produce a harmonically rich sound, the timbre of which can be altered by varying the synced oscillator's frequency. A synced oscillator that resets other oscillator(s) is called the master; the oscillators which it resets are called slaves.
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In contrast to his previous synthesizer-based releases as Oneohtrix Point Never, Replica was produced around audio samples from television advertisements procured by Lopatin, with the ads mainly dating back to the 1980s and 1990s. He proceeded to isolate the audio from the commercials, listening for sounds that would strike him as being "harmonically intense" and sampling them. This approach built on his 2010 sample-based cassette release Chuck Person's Eccojams Vol. 1 under the alias Chuck Person.
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The album displayed a very different version of the band, with newer influences including post-punk, new wave, latterday funk and go-go and African-styled polyrhythms. With a sound described in The New Rolling Stone Album Guide as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts", Fripp intended to create the sound of a "rock gamelan", with an interlocking rhythmic quality to the paired guitars that he found similar to Indonesian gamelan ensembles.
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Movement 3, again subtitled “Joyeux,” is a mixed-meter movement, defined by the constant repetition (ostinato) of the flute’s simple four measure phrase. The woodwinds’ playfully articulated polytonal melodies are supported by rhythmically-driven string parts, both based on duple subdivisions. Woodwind melodies are individually pleasant-sounding, but they do not match up harmonically. Throughout the movement, the melody alternates between instruments, most notably in the violin’s birdcall phrases, which define the contours of the movement.
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In 1977 Slim Richey recorded "Jazz Grass," an album of mostly bluegrass musicians forsaking their mountain roots to play more harmonically-sophisticated jazz. Richey was featured on guitar. Alan Munde, Bill Keith, and Gerald Jones played banjo; Richard Greene, Ricky Skaggs, and Sam Bush were on fiddle; Joe Carr and Kerby Stewart played mandolin; and Dan Huckabee was on dobro. Tracks included interpretations of jazz standards Stompin’ At The Savoy and Night In Tunisia next to Richey’s originals.
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Down Beat honored McPartland with a Lifetime Achievement Award in 1994.de Barros (2012), p. 370. McPartland was awarded a Grammy in 2004, a Trustees' Lifetime Achievement Award, for her work as an educator, writer, and host of NPR Radio's long-running Marian McPartland's Piano Jazz. Although a master at adapting to her guest's musical styles and having a well-known affinity for beautiful and harmonically-rich ballads, she also recorded many tunes of her own.
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Prokofiev modeled the symphony's structure on Ludwig van Beethoven's last piano sonata (Op. 111): a tempestuous minor-key first movement followed by a set of variations. The first movement, in traditional sonata form, is rhythmically unrelenting, harmonically dissonant, and texturally thick. The second movement, twice as long as the first, comprises a set of variations on a plaintive, diatonic theme played on the oboe, which provides strong contrast to the defiant coda of the first movement.
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"These Are the Days of Our Lives" was written by Taylor. It is harmonically and structurally one of the simplest songs of the band's catalogue. Keyboards were programmed by all band members in the studio, and conga percussion was recorded by David Richards. The music video for this song was Mercury's last appearance in a video medium, and with his knowing farewell look straight at the camera, Mercury whispers "I still love you" at the end of the song.
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Particularly important is the presence of Alfredo "Chocolate" Armenteros, who had also taken part in the recording of 1950s descarga sessions with artists such as Tojo and Chico O'Farrill's All-Stars Cubano.Gerard (2001) p. 112. Unlike older descargas, Palmieri combines modal phrases and montuno patterns, and adds "harmonically advanced chord voicings, substitutions and alterations" to his guajeos. The title of the last track on the album, "17.1", corresponds to the average age of the percussion section.
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113–114 . The tempo of reggae is usually slower than both ska and rocksteady. It is this slower tempo, the guitar/piano offbeats, the emphasis on the third beat, and the use of syncopated, melodic bass lines that differentiate reggae from other music, although other musical styles have incorporated some of these innovations. Harmonically the music is essentially the same as any other modern popular genre with a tendency to make use of simple chord progressions.
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Mixed In Key (also known as MIK) is Windows and Macintosh software that simplifies a DJ technique called harmonic mixing. The latest version of Mixed In Key analyzes MP3 and WAV files and determines the musical key of every file. Knowing the key, DJs can use music theory (such as the Circle of Fifths) to play songs in a harmonically-pleasing order. The software helps to eliminate dissonant tones while mixing songs together using a technique such as beatmatching.
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At the least flow rate, the frequency of 2452 Hz compared favorably to n = 3\. At intermediate flow rates, several non-harmonically related frequencies occurred simultaneously, suggesting that several corrugations were involved in the sound generation. In the smaller metal tube, a predominant tone appeared at 6174 Hz and corresponded to n = 2\. A unique aspect of this whistle is that the internal flow carries both the unstable vortex downstream and the returning feedback signal upstream.
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Towards the conclusion of the movement, Brahms marked bar 497 as in tempo, sempre tranquillo, and it is this mood which pervades the remainder of the movement as it closes in the home key of D major. The second theme's opening bars are recognizable for their passing resemblance to ', Op. 49, the tune commonly referred to as "Brahms's Lullaby". It is introduced at bar 82 and is continually brought back, reshaped and changed both rhythmically and harmonically.
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He next wrote his two violin sonatas (written in 1921 and 1922, respectively), which are harmonically and structurally some of his most complex pieces. In 1927–28, Bartók wrote his Third and Fourth String Quartets, after which his compositions demonstrated his mature style. Notable examples of this period are Music for Strings, Percussion and Celesta (1936) and Divertimento for String Orchestra (1939). The Fifth String Quartet was composed in 1934, and the Sixth String Quartet (his last) in 1939.
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Freeman, P. Good Old Days: Ornette Coleman on Blue Note, bluenote.com, December 18 2012 Allmusic awarded the album three stars and reviewer Thom Jurek stated "New York Is Now is one of the true curiosity pieces in Ornette's catalog". Jurek sees the album finding Coleman "in some sense, at odds with himself" and the rhythm section, which he finds "a lot more modally than harmonically propelled". In particular, he identifies drummer Elvin Jones as sounding restricted by the album's slow tempos.
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There are also palos in major mode; most cantiñas and alegrías, guajiras, some bulerías and tonás, and the cabales (a major type of siguiriyas). The minor mode is restricted to the Farruca, the milongas (among cantes de ida y vuelta), and some styles of tangos, bulerías, etc. In general traditional palos in major and minor mode are limited harmonically to two-chord (tonic–dominant) or three-chord (tonic–subdominant–dominant) progressions . However modern guitarists have introduced chord substitution, transition chords, and even modulation.
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The A section of the scherzo uses a playful leaping rolled chord figure that is rhythmically and harmonically reminiscent of the opening bars of the sonata. The B section is dominated by the juxtaposition of two distant tonal realms. It commences in C major for a rollicking theme that is abruptly interrupted by a downward- rushing C minor scale without any modulatory preparation,Fisk, Returning Cycles, p. 13. in a striking cyclic reference to the climax of the preceding movement's middle section.
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In the Baroque period, it was common for performers to improvise ornamentation on a given melodic line. A singer performing a da capo aria, for instance, would sing the melody relatively unornamented the first time and decorate it with additional flourishes and trills the second time. Similarly, a harpsichord player performing a simple melodic line was expected to be able to improvise harmonically and stylistically appropriate trills, mordents (upper or lower) and appoggiaturas. Ornamentation may also be indicated by the composer.
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In the mid-1970s, while he was a professor at the Yale School of Music, Penderecki's style began to change. The Violin Concerto No. 1 largely leaves behind the dense tone clusters with which he had been associated, and instead focuses on two melodic intervals: the semitone and the tritone. This direction continued with the Symphony No. 2, Christmas (1980), which is harmonically and melodically quite straightforward. It makes frequent use of the tune of the Christmas carol Silent Night.
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The Allmusic review by Scott Yanow states "Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters".Yanow, S. [ Allmusic Review] accessed 17 June 2009. The album was followed by a second Hubbard/Shaw collaboration The Eternal Triangle in 1987 and the two volumes were combined for the double CD release The Complete Freddie Hubbard and Woody Shaw Sessions (1995).
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Goehr is also committed to the reinvention of classical forms such as the Symphony, the classical Concerto, and the Baroque Suite (from his Suite Op. 11 of 1961 right up to Symmeteries Disorder Reach of 2007). Further sources of inspiration are the treatises on musical ornamentation by Carl Philip Emanuel Bach, and Monteverdi, whose synthesis of renaissance polyphony with the early baroque move towards homophony and the control of harmony clearly mirrors Goehr's own commitment to a harmonically expressive serialist practice.
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Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious Monk was adapting the new harmonic ideas to his style that was rooted in Harlem stride piano playing.
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The strength of Haudebert's music lay in his melodic inventiveness and his music's "singability". Although he created a large oeuvre of orchestral and chamber music, his vocal and choral music are regarded as his main achievement. His greatest success was the oratorio Dieu vainqueur for vocal soloists, mixed chorus, organ and orchestra, given with 600 participants in December 1927 at Mannheim, Germany. Harmonically conservative, he wrote in a late Romantic style, often coloured by Breton folk music, particularly in his instrumental music.
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Craig Smith notes that this is "the closest Bach gets to South German rococo architecture. One can almost see the putti and gold sunbursts of the many churches from this era in Bavaria and Austria". The second movement is a secco bass recitative. It provides a dual transition, both harmonically – moving from a major key to minor to prepare the third movement – and thematically – "progressing (or retrogressing) from the state of celebration to a recognition of the humility of Christ's state".
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In late 1972 Slapp Happy began recording their second album, Casablanca Moon with Faust. The songs here were more sophisticated and artful than those on Sort Of. Moore's music was harmonically richer, and Blegvad's lyrics more serious and poetic. Blegvad said, "We were snobs about pop music ... Anthony was more interested in making modern classical music." But they acknowledged that their attempts at commercial music were naïve and called their approach "the Douanier Rousseau sound", after the self-taught French artist.
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Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession". Gaucho proved to be Steely Dan's final studio album before a 20-year hiatus from the recording industry.
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String Quartet No. 2 (1988) was commissioned for a dance work called Miniatures, choreographed and performed by Shobana Jeyasingh, who dictated the rhythmic structure of the piece, based on the South Indian Bharata Natyam tradition. Melodically and harmonically, it is Western classical music, while structurally it is Karnatak music. The Balanescu Quartet performed this work with the original dance as well as adding it to their concert repertoire. Miniatures was renamed Configurations when Jeyasingh added two additional dancers to the choreography.
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The work ends with a harmonically complex four-part setting of the chorale, "" (Ah, Lord, let Your dear little angel). It is a prayer to be sent an angel to carry the soul in Abraham's Bosom, and a promise to praise God eternally. Bach's setting is remarkable for its final two bars: the trumpets and timpani create a "magnificent blaze of sound". Bach chose the same stanza of Schalling's chorale to end his St John Passion, in the work's first and last version.
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Bricard, p. 16 Morrison suggests that its funereal effect of tolling bells may also reflect the composer's own state of anguish, with deafness encroaching. The melodic line is simple and restrained, and except for a passionate section near the end is generally quiet and elegiac. ;Nocturne No 12 in E minor, Op. 107 (1915) With the twelfth nocturne Fauré returned to the scale and complexity of his middle-period works, but both melodically and harmonically it is much harder to comprehend.
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Even if the music was less harmonically rich than previous productions, the lyrics were still good. Notable singles were "Au néant", "Tu vois loin" and "T'as tout, tu profites de rien". The group set out again on what should have been a small breaking-in tour for their new album; this tour eventually included 32 dates, some of which were shared with Nada Surf. In March 2003 a clip was filmed for "Tu vois loin" by Mathieu Amalric at the Gare de l'Est.
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Manu Delago playing a first generation Hang The Hang is typically played resting on the player's lap. The Hang is generally played with the hands and fingers instead of mallets. This lighter means of playing produces an overtone-rich sound that could be considered softer and warmer than the bright sound of a mallet-based traditional steelpan. The top (Ding) side of the Hang, depending on how it is played, can sound like a harp, bells, or harmonically tuned steelpans.
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Recording In Rainbows, Radiohead mentioned rock, electronic, hip hop and experimental musicians as influences, including Björk, M.I.A, Liars, Modeselektor and Spank Rock. In 2011, Yorke denied that Radiohead had set out to make "experimental music", saying they were "constantly absorbing music" and that a variety of musicians are always influencing their work. Yorke is Radiohead's principal songwriter and lyricist. Songs usually begin with a sketch by Yorke, which is harmonically developed by Jonny Greenwood before the rest of the band develop their parts.
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Harmonically Enhanced Digital Audio (HEDA) is a class of digital recordings created by using modern digital harmonic enhancement technology. With the proliferation of harmonic enhancement algorithms, pioneered by Crane Song's Dave Hill, a new class of harmonic enhancement algorithms have emerged. Examples of algorithms used to create HEDA include the HEAT feature (available on Pro Tools HD 8.1 and later) and the multi-platform plug-ins Universal Audio's Studer A800, Slate Digital's Virtual Console Collection, Waves Non- Linear Summer, and Crane Song HEDD-192.
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At the onset of the Antarctic winter, the coat fades gradually to become light brown. At close range, the Ross seal can be easily identified by its large eyes, which are up to 7 cm in diameter. The Ross seal is able to produce a variety of complex twittering and siren-like sounds that are performed on ice and underwater, where they carry for long distances. The underwater siren sound can be composed of two harmonically unrelated superimposed tones that are pulsed with the same rhythm.
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This song serves as the album's end and features a loud, repetitive melody that builds up, then ends with a very quiet outro. When the main instrumentation ends at 1:30, the sound of a heartbeat from the first track, "Speak to Me", appears, which appears again in 9/8, and gradually fades to silence. Harmonically, the song consists of a repeating 4-bar chord progression: D, D/C, B♭maj7, and A7sus4 resolving to A7. The bass line is a descending tetrachord.
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Draft of adopted measures of the capital and oblast governments with regards to the expansion of the borders of Moscow In all, Moscow gained about and 230,000 inhabitants. Moscow's Mayor Sergey Sobyanin lauded the expansion that will help Moscow and the neighboring region, a "mega-city" of twenty million people, to develop "harmonically". All administrative okrugs and districts have their own coats of arms and flags as well as individual heads of the area. In addition to the districts, there are Territorial Units with Special Status.
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Movement 2, “Calme,” lives up to its name in style. An English horn solo opens the piece, playing over a smooth bassoon part and muted strings which bring to mind a babbling brook. The flute enters to rhythmically support (and harmonically oppose) the other woodwinds, all while the strings’ rhythms are augmented, turning simple arpeggio patterns into textural body. This thins out after the strings’ trill, with ornamental figures in the woodwinds that decrease in length and volume to the tranquil end of the movement.
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Copland transcribed the Piano Variations for orchestra in 1957 after a commission from the Louisville Orchestra. These Orchestral Variations were premiered the following year under conductor Robert Whitney. Copland regarded the "lean, percussive and rather harmonically severe" quality of the piano as essential to the Piano Variations in 1930, but after 27 years, reinvented the work to take advantage of a full orchestral palette. The Orchestral Variations offer a new perspective on the work, focusing instead on the contrasts of its multifarious moods and colors.
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"It has been applied...to diatonic music lacking harmonic consistency [or]...centricity" . Slonimsky himself, while making fun of the definition, quotes a professor saying pandiatonicism is, "C-major that sounds like hell" . Examples of pandiatonicism include the harmonies Aaron Copland used in his populist work, Appalachian Spring , and the minimalist music by Steve Reich, Philip Glass, and the later works of John Adams (; ). William Mann describes The Beatles "This Boy" as, "harmonically...one of their most intriguing, with its chains of pandiatonic clusters" ( cited in ).
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He left NG La Banda because it didnít afford him enough > opportunity to write. As a freelancer he wrote three important songs for > Charanga Habanera, including their breakthrough hit, "Me sube la fiebre." > After joining Issac, he continued to write prolifically. When Piloto founded > Klimax in 1995 his writing became even more melodically, harmonically and > lyrically original, sometimes straying into controversial areas that > resulted in songs being censored by the government and always pushing the > envelope of musical creativity in wonderful and varied ways.
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In the Born-Oppenheimer approximation, the ensemble of electrons of a molecule or supramolecular system can have several discrete states. The potential energy of each of these electronic states depends on the position of the nuclei, forming multidimensional surfaces. Under usual conditions (room temperature, for instance), the molecular system is in the ground electronic state (the electronic state of lowest energy). In this stationary situation, nuclei and electrons are in equilibrium, and the molecule naturally vibrates near harmonically due to the zero-point energy.
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Pups almost never howl, while yearling wolves produce howls ending in a series of dog-like yelps. Howling consists of a fundamental frequency that may lie between 150 and 780 Hz, and consists of up to 12 harmonically related overtones. The pitch usually remains constant or varies smoothly, and may change direction as many as four or five times. Howls used for calling pack mates to a kill are long, smooth sounds similar to the beginning of the cry of a great horned owl.
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Replacing pages which in Liszt's earlier compositions had been thick with notes and virtuoso passages was a starkness where every note and rest was carefully weighed and calculated, while the works themselves become more experimental harmonically and formally.Ogdon, 134-5. However, as with his earlier compositions, Liszt's later works continued to abound with forward-looking technical devices. Works such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality.
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Recorded in the key of E-flat major, it has since become a jazz standard; in addition, harmonically it conforms to the structure known as rhythm changes, a well known kind of composition for jazz musicians. It is often played for the amusement of audiences as part of a medley, forming what is referred to as "jazz humor". The International Association of Jazz Record Collectors refer to it as "campy" and "cheek by jowl". Often performed at an exhilarating pace, it is technically challenging for some.
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Such harmonically related distortion is called harmonic distortion. For high fidelity, this is usually expected to be < 1% for electronic devices; mechanical elements such as loudspeakers usually have inescapable higher levels. Low distortion is relatively easy to achieve in electronics with use of negative feedback, but the use of high levels of feedback in this manner has been the topic of much controversy among audiophiles. Essentially all loudspeakers produce more distortion than electronics, and 1–5% distortion is not unheard of at moderately loud listening levels.
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The opening recitative is harmonically active but melodically fragmented because of the unusual choice to set balanced couplets in recitative. The first aria is characterized by a "restless feeling of effort" beginning immediately after the short instrumental ritornello, and is the only one in da capo form. The second recitative is the only one to be accompagnato, with the strings supporting a harmony that "begins to slide around like quicksand". The second aria has a flowing ritornello theme provided by continuo and obbligato violin.
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Contemporary critics and authors applauded the song, calling it harmonically the most complex track from Madonna and praising its dance-pop nature. In the United States, "Borderline" became Madonna's first top-ten hit on the Billboard Hot 100, peaking at number ten in June 1984. In the United Kingdom, it peaked at number two after it was re- released as a single in 1986. Elsewhere, the song reached the top 10 or 20 in numerous European nations, while topping the singles chart of Ireland.
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His works written up to 1930 or so are more or less neoclassical in style. Those written between 1930 and 1940 are more or less tonal but harmonically complex. The works from 1946 onwards are atonal and, beginning with the Solo Violin Sonata of 1953, serial although not consistently employing Viennese twelve- tone technique. Only the first movement and the trio of the scherzo of the Violin Sonata, for example, employ a twelve-tone row strictly, the rest employing a scalar-constructed dissonant style.
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In 1957 Tull became a faculty member at Sam Houston State University in Huntsville, Texas, serving as Chairman of the Department of Music since 1965. Tull entered into serious composition beginning in the early 1960s. His works are generally tonal but harmonically adventurous and rhythmically vigorous, and show a strong influence of Medieval and Renaissance music. His catalog of compositions include over 80 published works for orchestra, band, chorus, and chamber ensemble, although he is known particularly for his works for concert band, brass, and percussion ensemble.
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Rejected ideas from the latter work and earlier sketches joined the material Elgar began developing in late 1910 to complete the piece.Kent, pp 41–43. The symphony's thematic material, like much of Elgar's work, consists of short, closely interrelated motives which he develops via repetition, sequential techniques, and subtle cross references. Harmonically, the piece often borders on tonal ambiguity, with the composer employing musical devices such as chromaticism and, in the third movement, a whole tone scale in order to heighten the feeling of tonal uncertainty.
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An unusual use of this chord at the start of a work occurs in Beethoven’s Piano Sonata in E major, Op 31 No. 3 (1802):Beethoven Sonata in E, Op 31 No 3 openingBeethoven Sonata in E, Op 31 No 3 opening According to Denis Matthews, “the most striking moment in the sonata is its opening, where an ambiguous added-sixth chord on the subdominant resolves itself through a series of halting steps, rhythmically and harmonically, towards the tonic.” Matthews, Denis. (1967, p.31) Beethoven Piano Sonatas.
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That signal then drives a step recovery diode impulse generator circuit that turns the sine wave into something approximating an impulse train. The resulting impulse train has the harmonics of the input sine wave present to a high frequency (such as 18 GHz). The impulse train can then be used with a diode mixer (also called a sampler). The SRD usually has a very high frequency multiplication ratio, and can be used as the basis of a comb receiver, monitoring several harmonically related frequencies at once.
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Beyoncé performing "Freakum Dress" during The Mrs. Carter Show World Tour, 2013 The song received mostly positive reviews. Phil Harrison of Time Out called "Freakum Dress" a magnificent production thanks to its vocal arrangements and commented that its beat can "drive the boys crazy." Brian Hiatt of Rolling Stone magazine wrote that even though "Freakum Dress" is less harmonically and melodically produced than "Crazy In Love" (2003) and songs from the Destiny's Child era, it remains a good track due to its highly energetic beat.
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Fourteen out of the fifteen poems in the collection are sonnets, and the style matches the elegance of the language, attaining considerable virtuosity in text setting.Einstein, Vol II p. 557. Einstein writes: "For us this is ... the height of artificiality and mannerism; for Guarini's contemporaries it was the height of virtuosity, if not of wit." Some of the settings are innovative harmonically and rhythmically, with one madrigal, S'armi pur d'ira disdegnoso ed empio, foreshadowing the Baroque stile concitato of rapid declamation over a homophonic texture.
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An analogue alt=Refer to caption. Harmonically, "Music" has a time signature of common time, and its composition is based on a static key of G minor with a moderate tempo of 120 beats per minute. Madonna's vocals range from G3 to two- lined note of D5, with a basic sequence of Gm–F–Gm–F as its chord progression. According to the book Madonna's Drowned Worlds, written by Santiago Fouz- Hernández and Freya Jarman-Ivens, "Music" is a "disco anthem, and the beat commands [the people] to get up and dance".
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Following this outburst, the B section quietly ends in C minor a grace-note melody identical in contour to a figure from the theme of the Andantino (2–1–7–1–3–1), before modulating back to the movement's tonic. C major returns in the concluding A section, this time more tonally integrated into its A-major surroundings, by modulatory sequences. The ternary form trio in D major uses hand crossing to add melodic accompaniment to the chordal theme, and is rhythmically and harmonically based on the opening of the Allegro.
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Typically a given work is analyzed by more than one person and different or divergent analyses are created. For instance, the first two bars of the prelude to Claude Debussy's Pelléas et Mélisande: Debussy Pelleas et Melisande prelude opening. are analyzed differently by , Laloy, van Appledorn, and . Leibowitz analyses this succession harmonically as D minor:I-VII-V, ignoring melodic motion, Laloy analyses the succession as D:I-V, seeing the G in the second measure as an ornament, and both van Appledorn and analyses the succession as D:I-VII.
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Rapid Evolution (also known as RE) is a software tool for DJs, providing filtering and searching features suitable for musicians. It can analyze audio files and automatically determine properties such as the musical key, beats per minute (BPM), beat intensity and ReplayGain. It supports file types MP3, MP4, WAV, FLAC, OGG, AAC and APE. It helps DJs to organize and profile their music, and assists in the process of mixing music by utilizing song metadata to be able to show harmonically compatible songs and songs of a similar style.
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An optional section that may occur after the verse is the pre-chorus. Also known as a "build", "channel", or "transitional bridge", the pre-chorus functions to connect the verse to the chorus with intermediary material, typically using subdominant (usually built on the IV chord or ii chord, which in the key of C Major would be an F Major or D minor chord) or similar transitional harmonies. "Often, a two-phrase verse containing basic chords is followed by a passage, often harmonically probing, that leads to the full chorus."Everett (2008), p.146.
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However, the experiment showing such actions did not follow the accepted protocol for tests of self- recognition, and earlier attempts to show mirror self-recognition in elephants have failed, so this remains a contentious claim. Elephants are also deemed to show emotion through vocal expression, specifically the rumble vocalization. Rumbles are frequency modulated, harmonically rich calls with fundamental frequencies in the infrasonic range, with clear formant structure. Elephants exhibit negative emotion and/or increased emotional intensity through their rumbles, based on specific periods of social interaction and agitation.
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Walecki designed a Stratocaster-style guitar to function with the Roland VG-8 virtual guitar, a system capable of configuring her numerous tunings electronically. While the guitar itself remained in standard tuning, the VG-8 encoded the pickup signals into digital signals which were then translated into the altered tunings. This allowed Mitchell to use one guitar on stage, while an off-stage tech entered the preprogrammed tuning for each song in her set. Mitchell was also highly innovative harmonically in her early work (1966–72), incorporating modality, chromaticism, and pedal points.
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Note that in the Mozart example above the passing tones are dissonant and unable to be embellished; however, in the Urlinie example to the right the passing tone is supported harmonically, allowing for embellishment. Also note the Schenkerian notation indicating relative hierarchical depth, surface or structural importance, where structural notes are indicated through stems and beams and surface notes are indicated through note heads only which are then slurred to stemmed and beamed notes. Thus in the bottom right example the third progression from D is a decoration of the deeper third progression from E.
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Smutna opowieść (Preludia do wieczności) [Polish for A Sorrowful Tale (Preludes to Eternity);Michael Murphy. Preface to a MPH edition less frequently translated as A Sad Story],Leszek Polony. Booklet notes to DUX 0132/0133 in F-sharp minor, Op. 13 is the fifth of Mieczysław Karłowicz's six symphonic poems and the last finished work of him (though begun before this, the Epizod na maskaradzie, Op. 14 remained unfinished at the time of his death). Harmonically, it is the most innovative of all his compositions, while stylistically it is near to the aesthetic of expressionism.
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Promotion of the premiere was prohibited by the authorities, but every seat ended up occupied. After his Third Symphony of 1976, Górecki was to embrace smaller-scale musical forms, such as short unaccompanied choral works (e.g. Broad Waters, Op. 39, his Five Marian songs, Op. 54) and chamber works; Miserere was to be the only large-scale work within the 1980s, reminiscent of his 2nd and 3rd symphonies in compositional scale and performer numbers. At the same time, his music became both harmonically and melodically simpler in his writing than his previous serial compositions.
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Harmonically, augmented unisons are quite rare in tonal repertoire. In the example to the right, Liszt had written an E against an E in the bass. Here E was preferred to a D to make the tone's function clear as part of an F dominant seventh chord, and the augmented unison is the result of superimposing this harmony upon an E pedal point. In addition to this kind of usage, harmonic augmented unisons are frequently written in modern works involving tone clusters, such as Iannis Xenakis' Evryali for piano solo.
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The story of this quartet starts in 2008, when started performing a 'pop-rock hits' show, versioned to Doo Wop style. In December 2009, Fourmidables produced its first Christmas album, entitled Sweet Christmas. In 2010, after being invited by the Spanish Association of Barbershop Singers to participate in its annual quartet competition, Fourmidables introduced themselves in this style of music, harmonically more complex and with a large following worldwide. New to this genre, Fourmidables nevertheless won second prize in the National Quartet Competition in 2011 and 2012 consecutively.
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In southern cumbia, however, the accordion is replaced by piano or organ, and the pace is faster and more elaborated both harmonically and instrumentally than in the original cumbia. Notable artists of this style include names such as Los Sonnors, Socios del Ritmo, and Chico Che. Other subgenres of Mexican cumbia include Cumbia Mariachi, Cumbia Andina Mexicana, and Cumbia Sonidera. The Orchestral Cumbia is another variant represented by big orchestras, like Pablo Beltrán Ruiz, Orquesta Tampico, Orquesta Coatzacoalcos, Roy Luis among others, that popularized many cumbias with full big band sound.
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The printed music for all three versions is based on this revision and is dedicated to Camille Saint-Saëns.Franz Liszt's music manuscripts in the national Széchényi Library, Budapest. By Mária P. Eckhardt, Országos Széchényi Könyvtár Harmonically, the second waltz anticipates Scriabin, Busoni and Bartók. Liszt begins and ends the work with an unresolved tritone, a musical interval famous as representing the devil in music, and the music overall is more violently expressive than both its predecessor and Camille Saint-Saëns' Danse macabre, which Liszt had transcribed a few years earlier.
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Departing from the rumba-inspired percussion parts of the previous songo era, "La expresiva" uses typical salsa bell patterns creatively incorporated into a Cuban-style timbales/drum kit hybrid. The tumbadora ('conga') plays elaborate variations on the son montuno- based tumbao, rather than in the songo style. In contrast to salsa though, NG's bass tumbaos are busier, and rhythmically and harmonically more complex than typically heard in salsa. The breakdown sections in En la calle have more in common with both the folkloric guaguancó of that time, and hip-hop, than with salsa.
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F-V Ms Mus 61. These pieces include a number of important pieces: the massive Grand Dialogue (1696), a harmonically adventurous Fond d'orgue, the Quatuor, a four- part fugue that was quintessential to French organist-composers, and a Plein jeu with a canon in double pedals. Modern scholar Geoffrey Sharp divided Marchand's organ oeuvre into three distinct groups: pieces influenced by vocal genres, pieces influenced by instrumental genres, and vocal-instrumental hybrid works. He singles out Marchand's organ trios and non-contrapuntal works as the composer's most successful pieces.
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Unlike musical tones that are composed of the sum of a number of harmonically related sinusoidal components, pure tones only contain one such sinusoidal waveform. When presented in isolation, and when its frequency pertains to a certain range, pure tones give rise to a single pitch percept, which can be characterized by its frequency. In this situation, the instantaneous phase of the pure tone varies linearly with time. If a pure tone gives rise to a constant, steady-state percept, then it can be concluded that its phase does not influence this percept.
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This piece consists of five melodic episodes. They are prefaced and separated (except for the fourth and fifth episode) by 'ritornello' type sections of repeated cluster chords in a clashing rhythm (duplets in measure). The piece is related to the pantomime The Miraculous Mandarin, in character to the chase scene and harmonically to the important two building blocks which are presented directly at the start of the pantomime:Stevens, 1953; Somfai, 1993, 182. # A three-note chord consisting of the ground note, and a tritone and a major seventh above, e.g.
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Brouillards or "Mists" or "Fog" is the first prelude of Claude Debussy's second set of preludes. It can be considered as the most harmonically complex of the entire series of preludes, hinting at polytonality. The left hand mainly employs the C diatonic collection, modulating shortly in the second theme and reverting in the coda, while the right hand uses the A-flat minor diatonic collection on E-flat, like the left hand modulating briefly before returning. The Piano Works of Claude Debussy by Elie Robert Schmitz in his description of the piece.
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The Allmusic review by Thom Jurek awarded the album 4 stars stating "This is easily Lacy's "straightest" album from the period, and he stays melodically and harmonically close to Monk's original compositions in the heads before taking off elsewhere in the solos. But Lacy keeps to the notion of repetition, syncopation, and melodic invention that Monk did, and the band is nearly symbiotic in its communication around and with him. The music here is a delight and a revelation all at the same time. The sound is warm and full and the transfer is solid.".
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Both of them (the girl presumably in the couple's home) look in a thoughtful way and seems to be doubting about the decision they have taken. Scenes of the band playing the song and the lights in different buildings being switched off and on harmonically with the song (which could be related to the first lines of the single chorus "now the lights out i discover...") are interpolated in the video. At the end of the video Walsh finally decided to enter to the car. The video features a White Mercedes-Benz W123 Estate.
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In older theory texts this form is sometimes referred to as a "trill-tremolo" (see trill). :# A rapid, repeated alteration of volume (as on an electronic instrument); :# vibrato: an inaccurate usage, since vibrato is actually a slight undulation in a sustained pitch, rather than a repetition of the pitch, or variation in volume (see vibrato). ; tresillo (Sp.): A duple-pulse rhythmic cell in Cuban and other Latin American music ; trill : A rapid, usually unmeasured alternation between two harmonically adjacent notes (e.g. an interval of a semitone or a whole tone).
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This string resonance also occurs when other notes are played that are harmonically related to the pitch of an aliquot string, though only when the related notes' dampers are raised. Many piano-makers enrich the tone of the piano through sympathetic vibration, but use a different method known as duplex scaling (see piano). Confusingly, the portions of the strings used in duplex scaling are sometimes called "aliquot strings", and the contact points used in duplex scales are called aliquots. Aliquot stringing and the duplex scale, even if they use "aliquots", are not equivalent.
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Didgeridoo street player in Spain A termite-bored didgeridoo has an irregular shape that, overall, usually increases in diameter towards the lower end. This shape means that its resonances occur at frequencies that are not harmonically spaced in frequency. This contrasts with the harmonic spacing of the resonances in a cylindrical plastic pipe, whose resonant frequencies fall in the ratio 1:3:5 etc. The second resonance of a didgeridoo (the note sounded by overblowing) is usually around an 11th higher than the fundamental frequency (a frequency ratio of 8:3).
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Then he relocated to San Diego in US (1985), where he was a music educator and later professor in Music at California State University (1995–2004). Since 2004 he has been Associate Professor at Norges Musikkhøgskole. With residence in San Diego for 19 years, Antonsen had many interesting collaborations, including with Ravi Shankar's tabla player Abhiman Kaushal, drummer Duncan Moore, guitarist Peter Sprague, bassist Bob Magnusson and pianist Andy LaVerne on the album Dream Come True (2000). Antonsen's compositions often consist of strong rhythmic patterns, harmonically sophisticated and melodically complex, yet logical.
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When all of the other strings on the piano can vibrate, this allows sympathetic vibration of strings that are harmonically related to the sounded pitches. For example, if the pianist plays the 440 Hz "A" note, the higher octave "A" notes will also sound sympathetically. The soft pedal or una corda pedal is placed leftmost in the row of pedals. In grand pianos it shifts the entire action/keyboard assembly to the right (a very few instruments have shifted left) so that the hammers hit two of the three strings for each note.
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This potential produces a saddle point in the centre of the trap, which traps ions along the axial direction. The electric field causes ions to oscillate (harmonically in the case of an ideal Penning trap) along the trap axis. The magnetic field in combination with the electric field causes charged particles to move in the radial plane with a motion which traces out an epitrochoid. The orbital motion of ions in the radial plane is composed of two modes at frequencies which are called the magnetron \omega_-and the modified cyclotron \omega_+ frequencies.
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Giustini used all the expressive capabilities of the instrument, such as wide dynamic contrast: expressive possibilities which were not available on other keyboard instruments of the time. Harmonically the pieces are transitional between late Baroque and early Classical period practice, and include innovations such as augmented sixth chords and modulations to remote keys. James Parakilas points out that it is quite surprising that these works should have been published at all. At the time of composition, there existed only a very small number of pianos, owned mainly by royalty.
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Accessed on February 13, 2008 He first played in bands and as an accompanist before starting a solo career.Jacques Stotzem, Best of Verviers, Interview with Jacques Stotzem (fr.) Accessed on February 13, 2008 Jacques Stotzem has developed a personal and harmonically refined style, drawing from many different sources such as blues, jazz, rock and folk. He plays with fingerpicks on the thumb and two fingers of the right hand, using the guitar to produce unusual percussive sounds and harmonic effects.Jacques Stotzem - fingerstyle guitarist - September 2003 - review, Cambridge Folk Club.
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There are deliberate dissonances and harmonic ambiguities that Pinkas describes as "taking tonality to its limit while still maintaining a single key."Pinkas, p. 11 Morrison writes that "the ecstatic song of No 6 is transformed in a central section where lyricism is soured by dissonance, held up, as it were, to a distorting mirror." The work is in Fauré's customary nocturne form, A–B–A, but with a reiteration of the material of the second section, harmonically transformed, followed by a coda that draws on material from the opening section.
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Porter also served, from 1958 until his death, as chairman of the board of directors of the American Music Center, which he had founded with Howard Hanson and Aaron Copland in 1939. He died in Bethany, Connecticut. He wrote a substantial amount in the "absolute (established) forms", including nine string quartets (1923–1953), several concertos (including one for harpsichord, one for viola, and one for two pianos, the latter work receiving the 1954 Pulitzer Prize for Music), and two symphonies. His later music—while tonal—is harmonically acerbic and dissonant.
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The Adelaide Connection is the Elder Conservatorium's premier Jazz Choir and has been one of Australia's most prestigious vocal groups since its inception in the 1980s. Under the direction of Anita Wardell, the group consists of between 15 and 18 students and has a mixture of soprano, alto, tenor and bass voices. The Connection have built a repertoire of harmonically sophisticated vocal music, both a cappella and accompanied. The majority of the vocal arrangements focus on close part harmony and complex jazz rhythms and sight reading is a strong focus for this ensemble.
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The rhythmic figure of two short notes and a longer note which is used repeatedly in the first subject is developed inexorably through the "development" section with rich harmonies and discords which are harmonically closer to the later period of Beethoven's compositions than the middle for their intellectual penetration. The movement has a surprisingly long coda which occupies over a quarter of the movement's length. The coda encompasses both the subjects in a display of powerful mastery over composition. Typically the movement played with the expected repeats lasts a little over 7 minutes.
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One might wish to measure the harmonic content of a musical note from a particular instrument or the harmonic distortion of an amplifier at a given frequency. Referring again to Figure 2, we can observe that there is no leakage at a discrete set of harmonically-related frequencies sampled by the DFT. (The spectral nulls are actually zero-crossings, which cannot be shown on a logarithmic scale such as this.) This property is unique to the rectangular window, and it must be appropriately configured for the signal frequency, as described above.
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Cathedral of Ferrara. Ferrara was the principal center of chromatic experimentation in the second half of the 16th century. While Vicentino was known as a composer, and wrote two books of madrigals and motets in a harmonically sophisticated style, it was his work as a music theorist that gained him renown. In the 1550s, in Italy, there was a surge of interest in chromatic composition, some of which was part of the movement known as musica reservata, and some of which was motivated by research into ancient Greek music, including modes and genera.
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Pavone can walk for years, but he has a flair for drama and angularity which he lets loose with regularity. Admittedly these pieces are in all sorts of weird time signatures, and they often shift styles midstream, but Pavone is clearly the locomotive driving this train: pure diesel power. His lines reveal the contours of the music, rendering each composition logical and coherent". In JazzTimes Harvey Siders wrote, "Pavone's writing is so harmonically daring and unpredictable that those with the technique of a Madsen or Wilson tend to bury the bass line.
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PopMatters notes that even though Today!'s A-side is filled with uptempo numbers, "it would be a mistake to assume that the ballads are more sophisticated. ... Wilson proves that he can be just as harmonically and structurally inventive with catchy dance songs as he can with emotional ballads." On "Good to My Baby" and "Don't Hurt My Little Sister", the journal points out "deceptive simplicity" in its music and lyricism, with the latter "capturing the conflicting and tortured feelings Wilson was dealing with through this period" that may not be heard on a first listen.
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As often with Mozart, phrase structure is generally the same throughout the variations even if other qualities change – the theme consists of four four-bar phrases (Mozart is often more irregular in his phrasing than this), the first going harmonically from A to E, the second back from E to A, etc. and likewise with the variations. The first of its variations gives the clarinet a new theme, in counterpoint with the theme of the variations divided amongst the quartet. The second alternates phrases for quartet only with phrases for full quintet, the latter answering the former.
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G. Kudra, J. Awrejcewicz, Application and experimental validation of new computational models of friction forces and rolling resistance, Acta Mechanica, 2015 (DOI: 10.1007/s00707-015-1353-z). They focused on modelling of the contact forces and tested different versions of models of friction and rolling resistance, obtaining good agreement with the experimental results. Numerical simulations predict that a rattleback situated on a harmonically oscillating base can exhibit rich bifurcation dynamics, including different types of periodic, quasi-periodic and chaotic motions.J. Awrejcewicz, G. Kudra, Mathematical modelling and simulation of the bifurcational wobblestone dynamics, Discontinuity, Nonlinearity and Complexity, 3(2), 2014, 123-132.
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In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. As a compositional technique, counterpoint is found in many musical styles including Medieval music, gamelan, and the music of West Africa. Within the context of Western classical music, counterpoint refers to the texture of polyphony, which developed during the late Middle Ages and early Renaissance and is found in much of the common practice period, especially in the Baroque. The term originates from the Latin punctus contra punctum meaning "point against point", i.e.
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The interval of a tritone between C and F is a recurring motif, the occurrence of which unifies the entire work. The interval is used both in contexts that emphasize the harmonic distance between C and F and those that resolve them harmonically, mirroring the theme of conflict and reconciliation present throughout the work.Arnold Whittall, The Music of Britten and Tippett, Cambridge University Press, 1982 (). The Requiem aeternam, Dies irae, and Libera me movements end in a brief choral phrase, consisting mainly of slow half notes, each first and second phrase ending on a tritone's discord, with every last (i. e.
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Russolo claims that music has reached a point that no longer has the power to excite or inspire. Even when it is new, he argues, it still sounds old and familiar, leaving the audience "waiting for the extraordinary sensation that never comes." He urges musicians to explore the city with "ears more sensitive than eyes," listening to the wide array of noises that are often taken for granted, yet (potentially) musical in nature. He feels these noises can be given pitch and "regulated harmonically," while still preserving their irregularity and character, even if it requires assigning multiple pitches to certain noises.
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Balada's works from the early 1960s display some of the characteristics of Neoclassicism, but he was ultimately dissatisfied with this technique, and in 1966 began to move towards a more avant-garde style, producing works such as Guernica. Balada felt a need for a change again in 1975, his work from then onward being characterized by the combination of folk dance rhythms with the avant-garde techniques of the previous period. Harmonically, Balada's mature period work displays a combination of the tonality of folk music with atonality. Compositions representative of this period include Homage to Sarasate and Homage to Casals.
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She then switched labels and began exploring more jazz-influenced melodic ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris"[ Ankeny, Jason. All Music Guide] and became her best-selling album. Around 1975, Mitchell's vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto. Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she explored jazz, melding it with influences of rock and roll, R&B;, classical music and non-western beats.
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In a review of Legend in The Wire, Philip Clark wrote that the fanfare in "Teenbeat Introduction" "arrive[s] like a bucket of icy water". He said "Teenbeat" follows with "pointillistic splashes of sound" that become "a harmonically secure chorale", reaching a crescendo before "dissolv[ing] into a collage of rapidly looming jump-cuts". Sean Kitching referred to "Teenbeat" in The Quietus, as "uplifting and epic". Bradley Smith wrote in The Billboard Guide to Progressive Rock that "Teenbeat", with its "ominous" drums and chorale that open the piece, and "Teenbeat Reprise", with its "raging" guitar solo, are some of the highlights of Legend.
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Lyrically "Sitting Top of the World" has a simple structure consisting of a series of rhyming couplets, each followed by the two-line chorus. The structural economy of the song seems to be conducive to creative invention, giving the song a dynamic flexibility exemplified by the numerous and diverse versions that exist. Harmonically the song differs from a standard 12 bar blues, and though the original has a clearly bluesy harmonic feeling, including blue notes in the melody, there is some disagreement about whether it is really a blues. "Sitting Top of the World" is a strophic nine-bar blues.
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Dual tailpipes attached to the muffler on a passenger car to reduce the sound produced. A muffler with pipes Mufflers are installed within the exhaust system of most internal combustion engines. The muffler is engineered as an acoustic device to reduce the loudness of the sound pressure created by the engine by acoustic quieting. The noise of the burning-hot exhaust gas exiting the engine at high speed is abated by a series of passages and chambers lined with roving fiberglass insulation and/or resonating chambers harmonically tuned to cause destructive interference, wherein opposite sound waves cancel each other out.
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"Beck's Bolero" is a rock instrumental recorded by English guitarist Jeff Beck in 1966. It is Beck's first solo recording and has been described as "one of the great rock instrumentals, epic in scope, harmonically and rhythmically ambitious yet infused with primal energy". "Beck's Bolero" features a prominent melody with multiple guitar parts propelled by a rhythm inspired by Ravel's Boléro. The recording session brought together a group of musicians, including Jimmy Page, Keith Moon, John Paul Jones, and Nicky Hopkins, who later agreed that the line up was a first attempt at what became Led Zeppelin.
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The relatively large-scale symphony is again in four movements, and again, as with symphonies 6 and 8, the positions of the Scherzo and the slow movement are exchanged from their usual spots. The music harmonically and melodically resembles the seventh symphony, and stands in contrast to the tenth as the seventh does the sixth. The character is predominantly dreamy and lyric, the tensions of the earlier symphonies are missing. Myaskovsky had been occupied in this time more closely with the music of Claude Debussy, and from Sergei Prokofiev had been able from Paris to acquire some scores.
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They deconstructed the composer's initial pieces for The Fountain and re-played them in a key so the lead melodies could harmonically play with every progression. The song "Together We Will Live Forever" was an electronic piece designed by Mansell to be the protagonist's memory theme. Antony Hegarty, lead singer of Antony and the Johnsons, was commissioned to create a vocal piece over "Together We Will Live Forever" for the end credits, but the director decided that the vocals would not be appropriate to end the film. The song was ultimately performed by pianist Randy Kerber.
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Georges Charles Brassens (; 22 October 1921 – 29 October 1981) was a French singer-songwriter and poet. Now an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He is considered one of France's most accomplished postwar poets. He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon (Il n'y a pas d'amour heureux), Victor Hugo (La Légende de la Nonne, Gastibelza), Paul Verlaine, Jean Richepin, François Villon (La Ballade des Dames du Temps Jadis), and Antoine Pol (Les Passantes).
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Closed form compositions are intended to lead the listener down a specific path, both melodically and harmonically. A simple example of a melodic trait of closed form is the use and fragmentation of motives; a harmonic example is the use of progressions to lure the listener to expect something, such as a climax or an ending.Lutosławski (2007), pp. 133–5 The symphony demonstrates on a large scale the importance of motion towards a musical goal—the sort of tension and release that is a foundational principle of Western music.Stucky (1981), p. 126 In the second symphony, these ideas manifest in the following way.
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Those "lowest numbered" channels often reside between VHF channels four and five on HRC (harmonically related carrier) and IRC (incrementally related carrier) systems where the normally four MHz gap is increased to six MHz, wide enough for one NTSC channel. Similar situations exist in the rest of the world as well. Another use of a cable-ready tuner is for receiving amateur television (ATV) in North America, where the main ATV band appears on cable channels 56 to 59, 57 being the most popular. Most repeaters output on these channels, while input from amateur operators is often in another band.
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During the early 19th century, shape note music was used as part of evangelizing in the Second Great Awakening. Mason and his colleagues (notably his brother Timothy Mason) characterized this music as backwoods material, "unscientific", and unworthy of modern Americans. They taught their views through a new form of singing school, set up to replace the old singing schools dating from colonial times. In comparison with the earlier forms of American sacred music, the music that Mason and his colleagues propagated would be considered by many musicians to be rhythmically more homogeneous and harmonically less forceful.
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The band's 1987 music video Big Heart was featured on the adult animation The Brothers Grunt. In 1998, the band released Queen of All Ears on John Lurie's Strange and Beautiful Music label and had added Steven Bernstein, Michael Blake, Oren Bloedow, David Tronzo, Calvin Weston, and Billy Martin. "The Lizards' music isn't jazz," said Fred Bouchard of JazzTimes, "but it is intelligent and rhythmically and harmonically interesting (it ain't rock either, in other words) and, despite the ultra-hip trappings, it has an almost innocent directness that can transcend stylistic prejudice." Recent years have found the Lounge Lizards less active.
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Example of a brass guitar pick handcrafted by artisan picksmith Dustin Michael Headrick of Master Artisan Guitar Picks and Nashville Picks. Picks made from various metals produce a harmonically richer sound than plastic, and change the sound of the acoustic and electric guitar. Some metal picks are even made from coins, which give players a unique tone as the alloys used in various coinage from around the world vary greatly."Guitar Plectrum", "Keen Kord Guitar" Playing guitar with a silver pick gives a unique, rich and bright sound, very different from normal plectrums (Brian May of Queen often plays with a silver sixpence).
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" In his review of the score, Tim Clark of Soundtrack.net lamented the "absence of a truly memorable theme, despite a wealth of thematic material," and found similarities to Dario Marianelli's composition for the 2005 film Pride & Prejudice. Patsy Morita, a music critic for Allmusic, wrote that the second half of Johnston's score becomes as "unremarkable" as "so many other dramatic film scores of the early twenty-first century." She continued, "It fulfills its purpose of underscoring the emotion of the story by being moody and slow to change melodically and harmonically, and by using many pregnant pauses and minimalist-leaning repetitive figures.
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The Allmusic review states "The unit made demanding, harmonically dense and rhythmically unpredictable material, with Braxton's scurrying solos ably matched by Threadgill's bluesier lines and Abrams' leadership and inventive blend of jazz, blues, and other sources holding things together".[ Allmusic Review] accessed 1 April 2009 The Penguin Guide to Jazz awarded the album 3 stars stating "Anthony Braxton is one of the certain masters modern jazz and perhaps Abrams's most gifted pupil. The music they make together is complex, scurryingly allusive and seldom directly appealing". The Rolling Stone Jazz Record Guide said "Abrams the small group leader has never sounded better".
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Waelrant uses text-painting as well, highlighting individual words with characteristic gestures, as a method to increase the expressivity of the music. Occasionally, his use of text-painting is obvious: for example, in his chanson Musiciens qui chantez, after the word "taire" (silent) all the voices rest for a moment of silence. Harmonically, Waelrant usually preferred voicings that contained complete triads, and with his preference for root motions of fifths over those of thirds, one can hear the impending tonal structures of the Baroque era, which was to begin shortly after his death. In this regard his motets also resembled those of Lassus.
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It was in response to the Indian needs that the hand-held harmonium was introduced. All Indian musical instruments are played with the musician sitting on the floor or on a stage, behind the instrument or holding it in his hands. In that era, Indian homes did not use tables and chairs. Also, Western music being harmonically based, both a player's hands were needed to play the chords, thus assigning the bellows to the feet was the best solution; Indian music, being melodically based, only one hand was necessary to play the melody, and the other hand was free for the bellows.
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" In Gayford's own appraisal for The Daily Telegraph, he argued that it "marked the point at which jazz—for good or ill—ceased for a while to be hip and cool, becoming instead mystical and messianic". Christgau, writing in 2020, said, "it's meditative rather than freewheeling, with each member of his classic quartet instructed to embark on his own harmonically mapped excursion and the title set to a chanted four-note melody you could hum in your sleep. I'm on my fourth consecutive play with no signs of tune fatigue as I write, plus my wife loves it. All true, all remarkable.
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Such techniques influenced a new generation of young DJs, including Sasha, who credits Dasilva for teaching him how to mix harmonically and build sets. Since leaving The Hacienda, Dasilva's career has taken him around the world. He was the first guest DJ to be booked by Slam (Soma Records) in Glasgow back in 1989, first UK DJ to play Tresor in Berlin around 1990. He was also one of the first British DJs to play China in the mid-90s, and was resident on the first Strictly Rhythm Records Tour alongside Todd Terry and a young Roger Sanchez.
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He wrote six symphonies (1902–1924) and was the first Finnish composer to bear Mahler's influence. The fourth symphony uses a vocalise like that of Carl Nielsen's Sinfonia Espansiva. The fifth is a Sinfonia brevis ending in a fugue and chorale, while the sixth, harmonically more advanced than the other five, advances stepwise from a C minor first movement – with evocations of Mahler's second symphony – to an E-flat major finale. His musical output also includes an opera, Aino (based on the character from the Finnish national epic), a violin concerto, four string quartets, and many piano pieces.
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The Allmusic review by Richard S. Ginell awarded the album 3 stars, noting, "Ritual has several of the characteristics of Jarrett's solo improvisations -- the repetitive vamps and ostinatos, wistful lyricism, ruminative episodes developing organically out of what preceded them -- but without the jazzy/bluesy feeling that runs through the solo concerts. Also, the piece begins in a mournful way unusual for the usually optimistic Jarrett. In any case, it is a thoughtful, absorbing composition, thoroughly tonal harmonically, played with assured technique and appropriate use of classical expressive devices by Davies. Classical listeners as well as Jarrett devotees will find much to savor here".
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In 1947, Shearing emigrated to the United States, where his harmonically complex style mixing swing, bop and modern classical influences gained popularity. One of his first performances was at the Hickory House. He performed with the Oscar Pettiford Trio and led a jazz quartet with Buddy DeFranco, which led to contractual problems, since Shearing was under contract to MGM and DeFranco to Capitol Records. In 1949, he formed the first George Shearing Quintet, a band with Margie Hyams (vibraphone), Chuck Wayne (guitar), later replaced by Toots Thielemans (listed as John Tillman), John Levy (bass), and Denzil Best (drums).
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Heavy metal is usually based on riffs created with three main harmonic traits: modal scale progressions, tritone and chromatic progressions, and the use of pedal points. Traditional heavy metal tends to employ modal scales, in particular the Aeolian and Phrygian modes.Walser (1993), p. 46 Harmonically speaking, this means the genre typically incorporates modal chord progressions such as the Aeolian progressions I-♭VI-♭VII, I-♭VII-(♭VI), or I-♭VI-IV-♭VII and Phrygian progressions implying the relation between I and ♭II (I-♭II-I, I-♭II-III, or I-♭II-VII for example).
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Denis and Ennemond are confused in many contemporary manuscripts and prints, leading to numerous attribution problems. A number of pieces are signed simply with the surname, some are attributed to Denis in one collection and to Ennemond in another, and still others are now known to have been be misattributed. Gaultier's output, as is to be expected from a 17th-century French lutenist, consists mainly of dance suites for the lute. In general, Gaultier was a masterful melodist, effortlessly writing graceful melodic lines with clear phrase structures, but his music is less inventive harmonically than that of some other French lutenists of the era, such as René Mesangeau or Pierre Dubut.
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Instead of the usual G barre chord (G–B–G–B–D–G), a G5 (G–X–G–G–D–G) is sometimes played with the major third (B) being muted on the fifth string and replaced by the open third string (G). Redding follows the chord changes mostly by playing the root with occasional passing notes, while Mitchell heightens the tension with drum flourishes that accentuate Hendrix's vocal and guitar. Biographer David Henderson describes Hendrix's guitar tone as "at the razor edge of distort". However, individual notes are still clear, as well as the harmonically more complex chords, even with the use of extreme overdrive for the time.
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Spoken audio is recreated by modelling speech as a sum of harmonically related sine waves with independent amplitudes called Line spectral pairs, or LSP, on top of a determined fundamental frequency of the speaker's voice (pitch). The (quantised) pitch and the amplitude (energy) of the harmonics are encoded, and with the LSP's are exchanged across a channel in a digital format. The LSP coefficients represent the Linear Predictive Coding (LPC) model in the frequency domain, and lend themselves to a robust and efficient quantisation of the LPC parameters. The digital bytes are in a bit-field format that have been packed together into bytes.
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Front cover of "Just Awearyin' for You" (published 1901), a widely selling example of a parlour song. "Parlour music" was popular music performed in the parlours of middle class homes by amateur singers and pianists. Disseminated as sheet music, its heyday came in the 19th century as a result of a steady increase in the number of households with enough surplus cash to purchase musical instruments and instruction in music and with the leisure time and cultural motivation to engage in recreational music-making. In contrast to the chord-based classical music, parlour music features melodies, which are harmonically independent or not determined by the harmony.
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The standard definition focuses on the thematic and harmonic organization of tonal materials that are presented in an exposition, elaborated and contrasted in a development and then resolved harmonically and thematically in a recapitulation. In addition, the standard definition recognizes that an introduction and a coda may be present. Each of the sections is often further divided or characterized by the particular means by which it accomplishes its function in the form. After its establishment, the sonata form became the most common form in the first movement of works entitled "sonata", as well as other long works of classical music, including the symphony, concerto, string quartet, and so on.
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Much of Staden's work survives in printed collections. His first published works were the secular songs of Neue teutsche Lieder (1606), another Neue teutsche Lieder (1609) and Venus Kräntzlein (1610); the songs feature simplistic rhythms, are harmonically simple and feature little to no imitative counterpoint. The same can be said about his sacred songs, which he also published several collections of. Other sacred music is of considerably greater interest: Harmoniae sacrae (1616) contains some of the earliest German sacred concertos, introducing the concepts of an obligatory basso continuo, independent instrumental accompaniment and the solo concerto to Nuremberg's tradition; these features are also seen in other collections of sacred choral music.
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Clark grew up in Newfoundland, Canada and England. Educated at King's College London, Princeton University, and the Humboldt University Berlin, she took up a Junior Research Fellowship, and then a British Academy Research Fellowship at Merton College Oxford. Between 2000 and 2008 she taught at the Faculty of Music at Oxford University. In 2008 she moved to Harvard University, where she had first taught as a visiting professor the previous year. Clark’s main research has focused on Schubert analysis. Originally beginning with an analysis of the harmonically symmetrical properties of his instrumental forms, Clark’s study soon encompassed the forms of Schubert’s songs as well.
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The structure of many popular songs is that of a verse and a chorus, the chorus serving as the portion of the track that is designed to stick in the ear through simple repetition both musically and lyrically. The chorus is often where the music builds towards and is often preceded by "the drop" where the base and drum parts "drop out". Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.J. Shepherd, Continuum Encyclopedia of Popular Music of the World: Performance and production (Continuum, 2003), p. 508.
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She became a commercial artist and electronic musician . When Bernstein and the New York Philharmonic played the local premiere of Shapero's Credo in 1958, a work commissioned by the Louisville Orchestra, Harold Schonberg wrote: "The new Shapero work is in one movement, lasts about eight and a half minutes, ... a quiet and sensitive mood piece, harmonically rather conservative (a Copland type of conservatism, with strong echoes of Our Town), but unmistakably of this generation. Mr. Shapero orchestrates beautifully; some of his combinations are very effective" . When awarded his second Fulbright Fellowship in 1961, Shapero took the opportunity to travel to Europe with his family for a year.
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6 Morrison comments that even in this early work, conventional sweetness is enlivened by subtle dissonance. ;Barcarolle No 2 in G major, Op. 41 (1885) The second barcarolle, dedicated to the pianist Marie Poitevin, is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail. Duchen writes of the work as complex and questing, harmonically and melodically, and points to the influence of Saint-Saëns, Liszt and even, unusually for Fauré, of Wagner. The work opens in 6/8 time like the first, but Fauré varies the time signature to an unexpected 9/8 in the middle of the piece.
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By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Through the middle of the 20th century this new Rio-style samba spread throughout Brazil. Of note, the low pitch bass that was heard on beats 1 and 3, and the higher pitched surdo on beats 2 and 4 in Bahia, brought by the slaves, was changed in Samba-the low pitch was moved to beats 2 and 4. The paradoxical result was that samba was brought back to Bahia from Rio, but now in a highly altered form, and no longer associated with Afro-Brazilians.
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An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D-flat major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda.
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After an initial period in which he composed works influenced by Argentine folk music, such as his Pequeña Suite Norteña B-2 for orchestra and Carnavalito B-4 and Vidalita B-14 for choir, José Antonio Bottiroli's music adhered to the Romanticism and late Romanticism. For his piano output he adopted as a main formal structure the Romantic microform in which he expressed his own subjectivity within the context of three-part compositions. His piano repertoire is distinguished by its improvisational character and hand extension while his orchestral works follow the symphonic poem narrative established by Franz Liszt. Harmonically, his music ventures into the rich late Romantic textures and the atmospheric colors of the Impressionist music.
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Hughes, p. 44 Harmonically his early works used the conventional formulae of early- nineteenth-century composers including Mendelssohn, Auber, Donizetti, Balfe and Schubert.Hughes, pp. 44 and 49 Hughes comments that harmonic contrast in the Savoy works is enhanced by Sullivan's characteristic modulation between keys, as in "Expressive Glances" (Princess Ida), where he negotiates smoothly E major, C sharp minor and C major, or "Then One of Us will Be a Queen" (The Gondoliers), where he writes in F major, D flat major and D minor.Hughes, p. 59 When reproached for using consecutive fifths in Cox and Box, Sullivan replied "if 5ths turn up it doesn't matter, so long as there is no offence to the ear." Both HughesHughes, p.
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Although key contributors had to sign non-disclosure agreements and some elements were codenamed, Boyle placed immense trust in the volunteers by asking them simply to "save the surprise" and not leak any information. Further volunteers were recruited to help with security and marshalling, and to support the technical crew. Three weeks before the ceremony, Mark Rylance, who was to have taken a leading part, pulled out after a family bereavement and was replaced by Kenneth Branagh. The Olympic Bell, the largest harmonically tuned bell in the world, weighing 23 tonnes, had been cast in brass under the direction of the Whitechapel Bell Foundry by Royal Eijsbouts of the Netherlands, and hung in the Stadium.
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Although Bertrand only wrote one Italian madrigal—actually a villanella—he was clearly influenced in his chanson-writing by the Italian concern for text- painting and careful underlining of words and phrases with appropriate and symbolic melodic and harmonic material. He was careful to use contrasting textures and meters, for example switching from duple to triple meter several times during the course of a composition. Bertrand's sacred works, contained in his three publications of Airs spirituels and sonets chrestiens, are closely related stylistically to the contemporary psalm-settings by the Huguenots: they are simple both melodically and harmonically, and usually maintain a homophonic texture throughout. The melodies are mostly from Gregorian chant.
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The first movement opens with an andante clarinet solo, a long, lyrical melody that the whole orchestra eventually picks up and expands. The strings begin the allegro section with a scalar passage which seems to accelerate towards an upwards glissando climax, at which point the allegro entry of the solo piano unexpectedly breaks the lyrical mood in an exuberant, harmonically fluid burst of brilliance and rhythm, utilizing fragments of the first theme. Piano and orchestra continue in dialogue until the piano introduces the harmonic structure for the second theme with a loud, unexpected march-like climax. The second theme, considerably more dissonant and ambiguous in tonality, is first taken by the orchestra, then expanded upon by the soloist.
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Yegorov compared himself to a prospector who, having found a precious "lode", tries to develop it in full. When intuition and high artistic culture helped the painter feel he got close to a treasure, he developed these "lodes" for many years, advancing the found forms, postures, and positions of the figure in space. The essential difference of Yegorov’s painting technique from earlier marine art is his active use of close-ups, when the sea is depicted closely to the viewer. Previously, the sea was usually represented panoramically: the water was harmonically framed with catchy elements of the landscape, such as mountains, rocks, cliffs, and, on the other hand, the halls of high heaven.
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Harmonically, II7 functions exactly as V7/I does, because the two chords enharmonically contain the same tritone, which is the critical harmonic element in the resolution from dominant to tonic. The half step downward motion of the roots of those chords, as seen in ii–II7–I, forms the familiar line cliché, arriving satisfyingly at the tonic. Secondary dominant refers to the functional dominant of the key's dominant or another non-tonic chord, while substitute dominant refers to an alternative functional dominant of the key's tonic. The extending of dominants to secondaries (or beyond) is a practice which remains firmly inside the circle of fifths, while the substitution of dominants replaces that cycle with one of minor-second intervals.
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Bridging the parallel developments of Israeli rock and the continuation of the Land of Israel tradition was a group of musicians who sought to create an authentic Israeli style that would incorporate elements of the new rock sound. These artists include Yehudit Ravitz, Yoni Rechter, Shlomo Gronich, Matti Caspi, as well as rock pioneers Gidi Gov, Danny Sanderson and Arik Einstein. Their style of progressive rock often adopted the lyrical ballad style of the canonical repertoire, and mixed traditional instruments—flute and recorder, darbuka, and acoustical guitar—with electric guitars, trap sets and synthesizers. Unlike typical hard rock, with its repetitive common-time rhythms and straightforward chord progressions, the songs of these artists were often complex rhythmically and harmonically.
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In almost every instance in the 1906 draft, first violins are paired with flute, oboe I, and clarinet I, second violins are paired with second clarinet, and lower strings are paired with octave doublings.Catherine Dale, Schoenberg's Chamber Symphonies: the crystallization and rediscovery of a style (Aldershot: Ashgate Publishing Company, 2000), 163 Harmonically, the Second Chamber Symphony generally progresses by stepwise motion, juxtaposing the First Chamber Symphony’s forward movement through non-traditional suspensions and appoggiaturas. Schoenberg combined this tonal style with 4th chords and similar combinations to grave and severe effect. While the First Chamber Symphony attempts to expand the limits of tonality, the second does not constantly attempt to undermine tonal references.
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The work is in three movements: It is a typical phase music work in that it is distinctly tonal, has a slow harmonic rhythm and stays in harmonically stable areas, and has a steady regular rhythmic pulse. As with many compositions in this genre, it is creative through its formal architecture, dramatically changing in mood and texture throughout its 30-minute length, especially in the first and third parts which both rise to a succession of highly dramatic crescendoes. The work's inspiration was a mixture of two elements. At the time of its composition, the composer was beginning to pay more attention to the subject matter of his subconscious, such as dreams.
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Totem cabinets are made to be inert but also harmonically expressive, which means creating synergy between veneers, stains, and lacquers. Lock mitred, monocoque construction is an intricate woodworking method in which a zigzag pattern is cut into the ends of panels so they provide substantially more surface area on each joining piece and in turn have more area to grip and physically lock together in a much stronger fashion. They are finally glued together at a 90-degree angle, making the Totem cabinet up to 5 times stiffer than conventional cabinet assembly. The medium density fiberboard (MDF) used is a unique recipe with a density of 90% on the exterior speaker side and 65% towards the interior.
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It's a view that's basically optimistic, a constant search for the 'Higher Ground', but the path is full of snares: dope ('Too High'), lies ('Jesus Children of America') and the starkly rendered poison of the city ('Living for the City'). Wonder seems to say that all people delude themselves but have to be well to pay their dues and existentially accept the present. 'Today's not yesterday,/And all things have an ending' is the way he puts it in 'Visions,' the key tune of the album—pretty yet serious, harmonically vivid. There's a lot of varied music here—Latin, reggae, even a nod to Johnny Mathis ('All in Love is Fair')—but it's all Stevie, unmistakably.
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The song is typically played in D minor, and has a 32 bar AABA structure. Harmonically, it starts on the root minor chord, then travels to form a dominant on the minor 6th of the D (Bb dominant 7th functions as the dominant of F minor 7th which is the minor 3 chord) . This is what gives the A section of this piece a slightly blues-orientated tonality, as the dominant 7th of the Bb dominant is an Ab, the b5 of the root minor chord, being the definitive note of a blues scale. It then moves down a semitone to the dominant 5th of the root minor, preparing to go back to the root minor.
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Delos is an uninhabited island in the Cyclades famous for its numerous archaeological sites, including the Stoivadeion, the Temple of the Delians, the Terrace of the Lions and the House of the Dolphins. On Syros, near Piraeus, and linked to the latter by a ferry taking only 2.5 hours, is the neoclassical city of Hermoupolis, where two civilizations and two religions lived harmonically and peacefully together. It has beaches, classical theatre, casino, general hospital and many places to see. Santorini, one of the Cyclades, is the location of Ancient Thera, an antique city on a ridge of the steep, 360 m high Messavouno mountain, and of Akrotiri, a Minoan Bronze Age settlement.
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Davis veered from succinct and expressive solos to unsentimental wails during the concert, which suggested he was still mourning Hendrix's 1970 death, Murray surmised. That year, Davis had started playing with a wah-wah pedal affixed to his trumpet in order to emulate the register Hendrix achieved on his guitar. The pedal created what The Penguin Guide to Jazz (2006) described as "surges and ebbs in a harmonically static line, allowing Miles to build huge melismatic variations on a single note". Davis eventually developed what Philip Freeman called "a new tone, the wiggly, shimmering ribbons of sound that are heard on Agharta", where his wah-wah processed solos often sounded frantic and melancholic, like "twisted streams of raw pain".
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Cristoforo Colombo (Christopher Columbus, ) is an opera in four acts and an epilogue by Alberto Franchetti to an Italian libretto by Luigi Illica. It was written in 1892 to commemorate the 400th anniversary of Christopher Columbus' arrival in America. Commissioned by the city of Genoa, Columbus' birthplace, the opera deals with the voyage of discovery, its opposition by the Spanish authorities, Columbus' encouragement by Queen Isabella, and finally, after his difficulties and triumph, his anguish when he learns of her death.Opera at Home, Gramophone Co. Ltd, 3ed, 1925 An essentially melodic opera only tangentially influenced by the emerging verismo style, it is harmonically rich, with obvious references to the work of Richard Wagner and Meyerbeer.
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Harmonically it outlines a bluesy I9 chord (with the flat > seventh!). Rhythmically, it places hard syncopations on the eighth note > preceding both the first and third beat of the second measure, while its > final three eighth notes provide momentum that effectively leads into the > repeat. Musicologist Walter Everett highlights the riff as an example of the Beatles drawing inspiration from other artists and improving on the source material. He sees the "Day Tripper" riff as a combination of the ostinatos heard on Motown recordings such as the Temptations' "My Girl", Barrett Strong's "Money (That's What I Want)" and Marvin Gaye's "I'll Be Doggone", while also incorporating a rockabilly element that recalls Roy Orbison's "Oh, Pretty Woman".
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Part classical, part folk, part something entirely new, if you fancy dipping your toe in something a bit different, then this is a great rock pool to do it in."Subba Cultcha review of Birds. Retrieved 19 November 2008 Organ lavishly praised the album, saying that "North Sea Radio Orchestra are blossoming in a rather fine way now with their inviting mix of delicate English prog and 20th century classical pastoral folk. Harmonically rich and fluid in a Henry Cow, Art Bears, Incredible String Band kind of way... A fine mix of delicate English folk and something that has evolved out of fine traditions of chamber music… Birds is an album pulling gently in two distinct ways.
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Part classical, part folk, part something entirely new, if you fancy dipping your toe in something a bit different, then this is a great rock pool to do it in."Subba Cultcha review of Birds, retrieved November 19, 2008 Organ lavishly praised the album, saying that "North Sea Radio Orchestra are blossoming in a rather fine way now with their inviting mix of delicate English prog and 20th century classical pastoral folk. Harmonically rich and fluid in a Henry Cow, Art Bears, Incredible String Band kind of way... A fine mix of delicate English folk and something that has evolved out of fine traditions of chamber music… Birds is an album pulling gently in two distinct ways.
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Milhaud was one of the Groupe des Six (Milhaud, Arthur Honegger, Francis Poulenc, Germaine Tailleferre, Georges Auric, Louis Durey), who wrote rhythmically and harmonically animated pieces such as the Scaramouche Suite for two pianos, and, while in Brazil, Le bœuf sur le toit (The Ox on the Roof of The Nothing-Doing Bar). Leplin studied conducting first in the South of France, then in Hancock, Maine, at the schools of Pierre Monteux, then the conductor of the San Francisco Symphony. He studied violin with Romanian composer and violinist George Enescu, and with Yvonne Astruc, whose Paris salon was a venue for chamber concerts. Leplin spent the years 1943–46 in the United States Army.
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Most notably, the William Dixon manuscript, dated 1733, from Stamfordham in Northumberland, was identified as Border pipe music by Matt Seattle in 1995, and published by him with extensive notes.The Master Piper – Nine Notes That Shook the World, William Dixon (1733), 3rd edition, edited Matt Seattle 2011, . The book contains forty tunes, almost all with extensive variation sets. Some of these are limited to a single octave, and many of this group correspond closely to tunes for Northumbrian smallpipes known from early 19th-century sources – "Apprentice Lads of Alnwick" is one of these; others are melodically and harmonically richer – using the full nine- note compass and the G major subtonic chord – a fine example of this group is Dorrington.
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The AllMusic review by Matt Collar said "Pianist Cyrus Chestnut is a virtuoso player with deep roots in both spiritual gospel music and harmonically sophisticated jazz. That said, he's also a classically trained artist with a wide-ranging and eclectic taste in music. He brings all of these influences to bear on his nuanced and enveloping 2018 trio date, Kaleidoscope ... Here, Chestnut has chosen a handful of his favorite classical compositions, including tracks by Erik Satie, Claude Debussy, and Maurice Ravel, which he reworks in his own inimitable jazz style, alongside other standards and his own originals. What's particularly compelling about his choices is just how well the classical songs fit into the jazz trio concept".
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The entire opera shows the influence of Mozart's Le nozze di Figaro, which was being successfully revived at the time. Among the musical highlights, besides the sinfonia, are Falstaff's strutting Act I patter aria, the quartet in Act I, the duettino "La stessa, La stessissima", the technically brilliant "laughter" trio in the opening moments of Act II, the canonical duet of Mr. and Mrs. Ford toward the end of Act II (featuring a rare late 18th century cello solo) and the grand finale to Act II. Throughout the score Salieri employs careful tone painting, parody of opera seria conventions, a more harmonically interesting structure for the secco recitative, and more involved counterpoint; traits that have helped return Falstaff to the playing boards.
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Medium's Richard LaBeau panned the track as "overproduced and lyrically nonsensical [...] it assuredly ranks toward the bottom of any list of Bond themes and Madonna singles". In his book Madonna: The Complete Guide to Her Music, author Rikky Rooksby described it as "melodically uninteresting and harmonically repetitious". He felt that the stuttered editing by Ahmadzai did not allow the song to gain its full potential but complimented the strings and the chords. Rooksby concluded by saying that "Die Another Day" reveals much about the decline in songwriting quality from the early Bond songs and was not much of an improvement over "The World Is Not Enough"; he said that the Sigmund Freud line was the "wittiest line" on the whole of American Life album.
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Pat Metheny Group is the first album by the Pat Metheny Group, released in 1978. It features Pat Metheny on guitars, Lyle Mays on piano and synthesizer, Mark Egan on electric bass, and Danny Gottlieb on drums. Many elements that became defining traits of the band's overall sound were in place on the first album, namely Metheny's incorporation of several different guitars and Mays's fusion of electronic and acoustic keyboards to create a fuller, more harmonically sophisticated foundation for the melodies and solos. This is particularly evidenced on the track, "Phase Dance", where Metheny introduces the main melody on an acoustic guitar and then switches to an electric to play one of the improvisational solos, with Mays providing the foundation on keyboards before playing the other solo.
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Olivier Messiaen in 1986 Olivier Eugène Prosper Charles Messiaen (, , ; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi.
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Manney was a well-known Boston composer and choir director who also worked as a music editor for Oliver Ditson. For its 1918 Fourth of July concert, the Boston Pops Orchestra asked Stephen Townsend to lead three sets of songs to be sung by a male chorus, and evidently Townsend evidently requested or commissioned Manney to produce a commemorative work. The work is in a cultivated style, with words and rhythm evoking a heroic slow march and textures suitable for upper-class church anthems. As befits Manney’s professional standing and experience, it is harmonically sophisticated, though not at all innovative. Although copyrighted in August, “America’s Crusaders” was only made available in published form in November, as the War neared its end.
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Pure CW radars appear as a single line on a Spectrum analyser display and when modulated with other sinusoidal signals, the spectrum differs little from that obtained with standard analogue modulation schemes used in communications systems, such as Frequency Modulation and consist of the carrier plus a relatively small number of sidebands. When the radar signal is modulated with a pulse train as shown above, the spectrum becomes much more complicated and far more difficult to visualise. Basic radar transmission frequency spectrum Basic Fourier analysis shows that any repetitive complex signal consists of a number of harmonically related sine waves. The radar pulse train is a form of square wave, the pure form of which consists of the fundamental plus all of the odd harmonics.
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Additional South American musicians appear as guests, notably Brazilian percussion player Armando Marçal. Still Life (Talking) in 1987, was the Group's first release on new label, Geffen Records, and featured several tracks which have long been popular with the group's followers, and which are still in their setlist. In particular, the album's first tune, "Minuano (Six Eight)", represents a good example of the Pat Metheny group compositional style from this period: the track starts with a haunting minor section from Mays, lifts off in a typical Methenian jubilant major melody, leading to a Maysian metric and harmonically-modulated interlude, creating suspense which is finally resolved in the Methenian major theme. Another popular highlight was "Last Train Home", a rhythmically relentless piece evoking the American Midwest.
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601 Other music of his is more adventurous, such as three chromatic madrigals in terza rima, referred to by musicologist Iain Fenlon as "gloomy ... [and] entirely appropriate texts for a city suffering from exorbitant taxation, economic depression and violence caused by Spanish oppression."Fenlon, Grove online Caimo's chromaticism is most extreme in his fourth book of madrigals, which was for five voices and published the year of his death (1584). He includes passages with chromatic mediants – chords with roots a third apart – as well as circle-of-fifths passages that reach harmonically remote regions, such as G-flat, something done rarely even during this experimental time, the decades prior to the development of functional tonality. Other composers who influenced Caimo included Vincenzo Ruffo and Nicola Vicentino.
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In addition, doo wop achieved widespread popularity in the 1950s. Doo wop was a harmonically complex style of choral singing that developed in the streets of major cities like Chicago, New York City, and, most importantly, Baltimore. Doo wop singers would work a cappella without backing instruments, and practice in hallways of their schools, apartment buildings, or alleys to achieve echo effects on their voices, and lyrics were generally innocent youthful observations on the upsides of teen love and romance. Groups like The Crows ("Gee"), The Orioles ("It's Too Soon to Know") and Brooklyn's Frankie Lymon & the Teenagers ("Why Do Fools Fall in Love") had a string of hit songs that brought the genre to chart domination by 1958 (see 1958 in music).
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Page incorporated some of the melody line and bolero rhythm into the medley portion of "How Many More Times" for the Led Zeppelin debut album. "Beck's Bolero" appears on various "best of" lists and in Guitar Masters: Intimate Portraits, Alan di Perna describes it as "one of the great rock instrumentals, epic in scope, harmonically and rhythmically ambitious yet infused with primal energy". The May 1966 recording pre-dated other mid-1960s hard rock/psychedelic rock milestones, such as the formation of Cream, Jimi Hendrix's arrival in England, the Beatles' Revolver album, and the rise of the San Francisco Sound. Guitarist Mike Bloomfield recalled that "Beck's Bolero" had a "significant impact on Jimi Hendrix, who named it among his favorite tracks".
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52nd Street, May 1948 The classic bebop combo consisted of saxophone, trumpet, double bass, drums and piano. This was a format used (and popularized) by both Parker (alto sax) and Gillespie (trumpet) in their 1940s groups and recordings, sometimes augmented by an extra saxophonist or guitar (electric or acoustic), occasionally adding other horns (often a trombone) or other strings (usually violin) or dropping an instrument and leaving only a quartet. Although only one part of a rich jazz tradition, bebop music continues to be played regularly throughout the world. Trends in improvisation since its era have changed from its harmonically-tethered style, but the capacity to improvise over a complex sequence of altered chords is a fundamental part of any jazz education.
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For the last, "the bustle of counterpoint is set aside as stark voicings gain warmth, sparse lines hover in space and a wistful melody lingers in the air". Between these two, Mehldau plays four preludes and one fugue from Bach's The Well-Tempered Clavier; each is followed by one of his own compositions that is an interpretation of the Bach piece. One is of the Prelude No. 3 in C-sharp major, which features the pianist "resetting Bach's original riff in a jerky 5/4 rhythm and taking it into a harmonically adventurous labyrinth. Similarly, a romantic, rubato-heavy reading of the F minor Prelude and Fugue is followed by a dreamlike meditation on some of the themes hinted at in Bach's original".
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As he began to develop the line it became clear that the structure wasn't so apparent and he was playing around with sounds: playing way above the normal scale of the horn, neutral and freak notes, overtones, and so on. I found it as shocking a piece of music as Stravinsky's 'Rite of Spring' was in his day... the song's form is much less important than the melody itself, and the relation between the melody and the rhythm. Sonny Rollins had worked without piano before, but his playing was primarily harmonically oriented — and Ornette Coleman too, who was totally aharmonic. Coltrane was able to integrate the two, to put everything in context, in such a sophisticated way that it influenced everybody.
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Harmonically it is similar to the verse but with some new variations. "An Em9 and A13 suggest E Dorian is still in effect," Breithaupt writes, "but, in addition to functioning as I and IV in that mode, they become, by implication, II and V when the progression shifts into D major for a four-bar chromatic descent related to the intros of [Aja singles] 'Peg' and 'Deacon Blues'". In the longer version of Christlieb's solo on the instrumental B-side "FM (reprise)", Breithaupt continues, Christlieb's solo continues for another 50 bars, allowing him at one point to "state a fully formed F blues lick over the E minor vamp, selling it through sheer melodic logic and rhythmic momentum." After the solo, the second verse and chorus repeat.
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There is a Mozart reference in the title--A Little Night Music is an occasionally-used translation of Eine kleine Nachtmusik, the nickname of Mozart's Serenade No. 13 for strings in G major, K. 525. The elegant, harmonically-advanced music in this musical pays indirect homage to the compositions of Maurice Ravel, especially his Valses nobles et sentimentalesCitron, Stephen. pp. 200, 203 (whose opening chord is borrowed for the opening chord of the song "Liaisons"); part of this effect stems from the style of orchestration that Jonathan Tunick used. There is also a direct quotation in 'A Weekend in the Country' (just as it moves to A major) of Octavian's theme from Strauss' 'Der Rosenkavalier', another comedy of manners with partner-swapping at its heart.
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Pitches within the chromatic scale are related not only by the number of semitones between them within the chromatic scale, but also related harmonically within the circle of fifths. Moving counterclockwise the direction of the circle of fifths gives the circle of fourths. Typically the "circle of fifths" is used in the analysis of classical music, whereas the "circle of fourths" is used in the analysis of jazz music, but this distinction is not exclusive. The "circle of fifths" is a requirement in the barbershop style as the Barbershop Harmony Society's Contest and Judging Handbook says the barbershop style consists of "seventh chords that often resolve around the circle of fifths, while also making use of other resolutions", among other requirements.
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Eleven, an instrumental track which includes the participation of Scarlett Etienne featured oscillating synth sounds and bass layers of the Voyager, string sounds were created by delaying, distorting and phasing the bass making it sound harmonically but it is an automating pitch shifter. Then the sound was set in through reverb, tremolo, and a NorthPole filter; This creates an uncluttered clear space in the track. Drums are an integral part of their mixes, Gabriel and Dresden tend to layer snares more than kicks. They adapt a high end kick in one side and a low end kick on the other, but they do not usually layer them because the kicks provide the tones, when layered, the frequencies are interconnecting which causes a beat not a kick.
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The 15-meter band (also called the 21-MHz band or 15 meters) is an amateur radio frequency band spanning the shortwave spectrum from 21 to 21.45 MHz. The band is suitable for amateur long-distance communications, and such use is permitted in nearly all countries. Because 15-meter waves propagate primarily via reflection off of the F-2 layer of the ionosphere, the band is most useful for intercontinental communication during daylight hours, especially in years close to solar maxima, but the band permits long-distance without high-power station equipment outside such ideal windows. The 15-meter wavelength is harmonically related to that of the 40-meter band, so it is often possible to use an antenna designed for 40 meters.
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The Boat ski is a shock absorbing system invented by Spede Pasanen for the bow of a small motorboat with a powerful outboard motor. Its functioning principle is damping the chopping motion of the boats bow with a ski-like device attached to the bow through a car shock absorber. When a small boat is equipped with a powerful motor, the attendant thrust will generally be sufficient to lift most of the hull above the water's surface and even minimal waves will often cause a harmonically amplified chopping motion of the bow. This represents a significant obstacle to the forward motion of the boat, but is also part and parcel of the image many boat buyers aspire to, when choosing the particular configuration.
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In a mixed review, Jon Pareles of The New York Times found the album "tense, high- strung and obsessive", and said that it was neither "ingratiating or seductive". Richard Cromelin of the Los Angeles Times observed that Beyoncé "heads into a new, more challenging terrain", but "some of the experiments don't click". Although he found the album "solid", Mike Joseph of PopMatters said that "aside from its relatively short running time, it sounds suspiciously under produced". Brian Hiatt of Rolling Stone averred that "while the mostly up-tempo disc never lacks for energy, some of the more beat-driven tracks feel harmonically and melodically undercooked, with hooks that don't live up to 'Crazy in Love' or the best Destiny's Child hits".
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Beginning in the late 1960s and early 1970s, Górecki began to compose larger scale works. At the same time, his music became both harmonically and melodically simpler in his writing than his previous serial compositions. Three primary musical influences also became apparent in his compositional style: Polish folksong, Catholic chant and the Polish music of the past, primarily the works of Karol Szymanowski. Out of these influences evolved two compositional kernels in Górecki's music: Górecki's "motto" motif (a rise of a minor third, usually on the first three pitches of the Aeolian or Dorian scales); and the "Skierkowski turn" (the Górecki motto followed by a descending half-step) named for the Polish folk music collector who influenced the music of Karol Szymanowski.
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The inharmonic ringing of the instrument's metal resonator is even more prominent in the sounds of brass instruments. Human ears tend to group phase-coherent, harmonically-related frequency components into a single sensation. Rather than perceiving the individual partials–harmonic and inharmonic, of a musical tone, humans perceive them together as a tone color or timbre, and the overall pitch is heard as the fundamental of the harmonic series being experienced. If a sound is heard that is made up of even just a few simultaneous sine tones, and if the intervals among those tones form part of a harmonic series, the brain tends to group this input into a sensation of the pitch of the fundamental of that series, even if the fundamental is not present.
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Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Acoustical Society of America – Large grand and small upright pianos by Alexander Galembo and Lola L. Cuddly Hanna Järveläinen et al. 1999. "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems" Other oscillators, such as cymbals, drum heads, and other percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.
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Bose Einstein Condensation Proceedings of the 1993 Levico International Workshop, A. Griffin, D. Snoke and S. Stringari eds. (Cambridge University Press, 1995) After the first experimental realization of BEC in 1995, he developed the formalism of superfluid hydrodynamics to describe the collective oscillations of a harmonically trapped BECs, providing analytic predictions for their frequencies. This contribution had a major impact on the first generation of experiments on ultra cold quantum gases and influenced an important line of theoretical work. Later contributions to the dynamics of trapped quantum gases, and to their rotational, superfluid and thermodynamic properties are summarized in the review papers on Bose-Einstein condensates and Fermi gases as well as in the book on Bose-Einstein Condensation and Superfluidity Bose-Einstein Condensation and Superfluidity Lev Pitaevskii and Sandro Stringari, , Int.
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"Pachelbel, Johann" The Concise Oxford Dictionary of Music, Ed. Michael Kennedy, (Oxford University Press, 1996) Oxford Reference Online, (accessed 21 March 2007) (subscription access) He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
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According to , Jamal uses tradition as a basis for his powerful paintings, while real-life motifs are turned into "flowing colour energies". With his art, Jamal tries to look behind the surfaces, and to harmonically connect the oriental with the occidental artistic schools.Jamal - The Silk Road, 18-21 History of art professor Manos Stefanidis regards Jamal as a "pictor classicus" - in the way Giorgio de Chirico used the term, namely a painter first addressing the problem of positioning the subject in space - who integrates modern European painting in his art, "but with terms of locality and an emphasis on the personal agony of expression".Jamal - The Silk Road, 86-88 According to Stefanidis, Jamal acts as a defender of "cultural reciprocity" between East and West, leading the artistic revival of the Arab world.
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The mounts were not strong enough to damp a phenomenon called "whirl mode flutter" (analogous to the precession of a child's top as it slows down) that affected the outboard engine nacelles. When the oscillation was transmitted to the wings and the flutter frequency decreased to a point where it was resonant with the outer wing panels (at the same frequency, or harmonically related ones), violent up-and-down oscillation increased until the wings would tear off. The company implemented an expensive modification program (the Lockheed Electra Achievement Program or LEAP) in which the engine mounts and the wing structures supporting the mounts were strengthened, and some of the wing skins were replaced with thicker material. All Electras were modified at Lockheed's expense at the factory, the modifications taking 20 days for each aircraft.
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During playback, the sound produced can be harmonically changed by moving to another point in the wavetable, usually under the control of an envelope generator or low frequency oscillator but frequently by any number of modulators (matrix modulation). Doing this modifies the harmonic content of the output wave in real time, producing sounds that can imitate acoustic instruments or be totally abstract, which is where this method of sound creation excels. The technique is especially useful for evolving synth pads, where the sound changes slowly over time. It is often necessary to 'audition' each position in a wavetable and to scan through it, forwards and backwards, in order to make good use of it, though selecting random wavetables, start positions, end positions and directions of scan can also produce satisfying musical results.
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Because of the wolf interval when using a 12-tone Pythagorean temperament, this tuning is rarely used today, although it is thought to have been widespread. In music which does not change key very often, or which is not very harmonically adventurous, the wolf interval is unlikely to be a problem, as not all the possible fifths will be heard in such pieces. In extended Pythagorean tuning there is no wolf interval, all perfect fifths are exactly 3:2. Because most fifths in 12-tone Pythagorean temperament are in the simple ratio of 3:2, they sound very "smooth" and consonant. The thirds, by contrast, most of which are in the relatively complex ratios of 81:64 (for major thirds) and 32:27 (for minor thirds), sound less smooth depending on the instrument.
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1868; Fig.2 Perspective view showing the relative position of all the Keys Poole appreciated "all musical ratios derived from the primes 3, 5, and 7" and more tentatively, 11, and he also asserted the melodic beauty of microtonal commatic shifts. He described a 7-limit double diatonic just scale to distinguish it from the usual diatonic scale, which he called the triple diatonic, with common tones from tonic, dominant and subdominant major triads. The new scale replaced subdominant pitches with the "perfect seventh and ninth of the dominant harmony" to correspond better with what he heard harmonically and melodically in all kinds of music. Poole proposed using five parallel chains of fifths from 1/1, 5/4, 25/16, 7/4 and 35/16, which he distinguished by type and case.
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600px The seventh concerto is the only one for full orchestra: it has no solo episodes and all the movements are brief. The first movement is a largo, ten bars long, which like an overture leads into the allegro fugue on a single note, that only a composer of Handel's stature would have dared to attempt. The theme of the fugue consists of the same note for three bars (two minims, four crotchets, eight quavers) followed by a bar of quaver figures, which with slight variants are used as thematic material for the entire movement, a work relying primarily on rhythm. The central expressive largo in G minor and time, reminiscent of the style of Bach, is harmonically complex, with a chromatic theme and closely woven four-part writing.
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Their endeavour was to make music accessible and practise it together and to overcome the separation between the (anonymous) audience and the performing musicians. Due to the return to (pre)baroque compositional techniques, the horizontal, harmonic compositional thinking of the 19th century was replaced by a linear voice leading, a process that can also be traced in Weyrauch's early compositions. The harmonically complex sound structures, as he was taught in the "Leipzig School", are taken back by the contact with the singing movement in his second creative period and replaced by clear chords with tonal roots. In the third creative period, the simplifying tendencies intensify, resulting in a further reduction in the complexity of the melodic structure, which is why Weyrauch himself coined the word "Paupertät style" for his music of this period.
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Most likely the nobleman influenced Macque, but it is possible that some of the influence went the other way, since dating of Gesualdo's individual compositions is difficult, due to his publication of his work in large blocks, many years apart. Some of the madrigals Macque wrote after 1599 include "forbidden" melodic intervals (such as sevenths), chords entirely outside of the Renaissance modal universe (such as F# major) and melodic passages in consecutive chromatic semitones. In addition to his madrigals, he was a prolific composer of instrumental music, writing canzonas, ricercars, capriccios and numerous pieces for organ. Some of his music is extraordinarily progressive harmonically, and can be compared with the vocal music of Gesualdo: the Consonanze stravaganti (exact date unknown, probably early 17th century) is a particularly good example.
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Portrait of Franz Schubert by Franz Eybl (1827) ' (To sing on the water), D. 774, is a Lied composed by Franz Schubert in 1823, based on the poem of the same name by Friedrich Leopold zu Stolberg-Stolberg. The text describes a scene on the water from the perspective of the narrator who is in a boat, and delves into the narrator's reflections on the passing of time. The song's piano accompaniment recreates the texture of the shimmering waves (') mentioned in the third line of the poem and its rhythmic style in the 6/8 meter is reminiscent of a barcarole. Harmonically, the song as a whole and within each stanza traces a movement from the minor mode to the major mode: the song begins in A-flat minor and ends in A-flat major.
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This forms the basis of many simple 'bug detectors' where the intention is to detect transmission on any frequency, even if not known in advance. (This is not the same as a 'rake' receiver which is a correlation device.) When the required frequency multiple is lower, such as doubling, tripling or quadrupling, then Schottky diode circuits are more common. The conduction angle can be adjusted by changing drive level or temperature, and determines which part of the I/V curve is used and therefore the relative strengths of the different harmonically related outputs. If an even multiple is desired then an anti-parallel pair of diodes will suppress the odd local oscillator contribution, to the level that the diodes can be made identical and experience the same source impedance.
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She wrote many children's songs, ranging from the sweet and trivial "There are fairies at the bottom of our garden" to the melodically and harmonically passionate "Stars" in The Daisy-Chain. Her tenor song "Ah, moon of my delight" from In a Persian Garden has been recorded through the years by tenors such as John McCormack, Jan Peerce, Mario Lanza, Robert White, and Webster BoothMany of these recordings are still available; see "Ah Moon Of My Delight Mp3 Play and download", mp3truck.net, accessed 21 February 2014 In 1904 she was commissioned by Frank Curzon to compose the score for the Edwardian musical comedy Sergeant Brue, with a libretto by Owen Hall and lyrics by James Hickory Wood. The piece was a success in London and New York, but Lehmann was unhappy that Curzon added other composers' music to her score.
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Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one without any pauses).(citation needed) The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions.
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SPWM (Sine–triangle pulse width modulation) signals are used in micro-inverter design (used in solar and wind power applications). These switching signals are fed to the FETs that are used in the device. The device's efficiency depends on the harmonic content of the PWM signal. There is much research on eliminating unwanted harmonics and improving the fundamental strength, some of which involves using a modified carrier signal instead of a classic sawtooth signalHirak Patangia, Sri Nikhil Gupta Gourisetti, "A Harmonically Superior Modulator with Wide Baseband and Real-Time Tunability", IEEE International Symposium on Electronic Design (ISED), India, Dec.11.Hirak Patangia, Sri Nikhil Gupta Gourisetti, “Real Time Harmonic Elimination Using a Modified Carrier”, CONIELECOMP, Mexico, Feb 2012.Hirak Patangia, Sri Nikhil Gupta Gourisetti, “A Novel Strategy for Selective Harmonic Elimination Based on a Sine-Sine PWM Model”, MWSCAS, U.S.A, Aug 2012.
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The AllMusic review by David R. Adler said "Art & Aviation is not only one of Jane Ira Bloom's finest albums, it is also a remarkably successful (and fairly early) attempt to bring electronic influences to bear on acoustic jazz. Bloom's writing is strongly infused with a straight-ahead jazz aesthetic. But she veers left on many cuts, altering her soprano sax sound with live electronics ... While most tracks still sound very much like jazz, the electronics, while never becoming obtrusive, give everything an unpredictable edge ... The complex, angular soprano/trumpet unison lines heard on many of the pieces call to mind the harmonically free sound of Ornette Coleman's early recordings with Don Cherry. ... But Bloom is not copying Coleman at all; rather, just as Coleman did, she is pushing jazz into new, similarly controversial areas, without sacrificing musicality for a second".
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Scott wrote around four hundred works (though the number is deceptive, since more than half of these were short songs or piano pieces). These include two mature symphonies, three operas, three piano concertos, concertos for violin, cello, oboe and harpsichord, and three double concertos (of which the scores are now lost), several overtures, four oratorios (Nativity Hymn (1913), Mystic Ode (1932), Ode to Great Men (1936), and Hymn of Unity (1947)), as well as a mass of chamber music (four mature quartets, five violin sonatas, three piano trios, and many others). Between 1903 and 1920 Scott wrote copiously for the piano. Most of these pieces were harmonically adventurous for their time and easy to play; they circulated widely in many countries of the world, in contrast to his more ambitious works, none of which received more than a handful of performances.
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This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos, in particular the works of John Philip Sousa. With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation. Joplin wrote his rags as "classical" music to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era." There are many inconsistencies between the titles of compositions, their subtitles and their respective cover titles, which was seen by the editor of the collected works as reflecting "an editorial casualness" on the part of the publishers, and indicating a genre in which many dance-steps could be performed interchangeably.
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His motets, his only known sacred works, are for four and five voices and show the influence of Jean Maillard. A connection between the two is assumed since they both set the same unusual text (Domine salvum fac regem desiderium cordis ejus), and their settings contain apparently deliberate similarities. Costeley's chansons were by far the most famous part of his output, and they are in the Parisian chanson style of the time, with vivid word painting, along with a tendency to think harmonically rather than polyphonically – as the age of purely polyphonic writing was coming to an end over most of Europe. The subject matter of the chansons is widely varied, as was true for most composers in the genre; some of the chansons are love songs, some are imitations of war or victory odes, and some are humorous or scatological.
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Michael Learns to Rock follow a basic verse-chorus song-form (which is typical of most pop songs) with lyrics comprising straight forward and short-length phrasing incorporating very basic sentence constructions. The verses consist of either one or two couplets and the chorus often contrasts the verse melodically, rhythmically, and harmonically, assuming a higher level of dynamics and activity. The essence of this style followed invariably by MLTR is evident from Jascha Richter's dead-pan response to a query in an interview as to what constituted the elements of a good song: "You got to have a chorus and a verse".Philippine Entertainment Portal Retrieved 2 October 2010 Many songs incorporate a bridge section following the second chorus section (most notably "25 Minutes", "That's Why (You Go Away)", "Someday", "Paint My Love", "Blue Night" etc.).
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On August 18, 2010, the Standard New York Hotel was the setting for a harmonically synchronized light and sound show produced by Spiegel. The Target Kaleidoscopic Fashion Spectacular featured a fashion show on the street level, while inside the hotel, 66 dancers performed choreography synchronized with fast-paced lighting patterns set to Spiegel's music score in 150 different rooms, using the glass walls of the hotel to display a multi-floor show, highlighting that year's fall styles. Spiegel was pivotal to the project as he not only created the score but brought together many of the other contributing artists as well. The show featured the creative direction of Mother New York, the directors at LEGS, lighting choreographers at Bionic League (who have worked with Daft Punk and Kanye West), and the dance choreographer Sir Ryan Heffington.
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Rumors persist to this day about precisely who played trumpet and piano on this piece; some claim it's young Miles Davis who plays trumpet and Gillespie comping at piano, on both takes; most claim Gillespie plays trumpetHaddix, Chuck (2013). The Life and Music of Bird, University of Illinois Press, pages 81-83 – and, or instead of, piano; some claim Hakim is the pianist on all or part of one or both of the takes. However, Miles Davis confirms in his autobiography that he did not play trumpet on "Ko Ko": Dizzy Gillespie also confirms that he played trumpet on "Ko Ko" in an interview with Stanley Crouch in 1986, and that the trumpet intro was composed by Charlie Parker. The song begins with a harmonically ambiguous introduction but quickly transitions to B flat major at the top of Parker's first solo chorus.
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" AllMusic critic Thom Jurek said, "the seemingly simple harmonics and snappy melodies that comprised the Charlie Brown pieces are merely the springboard for dizzying, dreamy, and rhythmically advanced, sophisticated composition and arrangement," adding that the suite contains "great treasures in American music and haunted by childlike nursery rhymes while being saturated in jazz; they comprise something unique in the vernacular and are a sheer, warm delight for virtually anyone but the most snobbish and harmonically challenged to listen to." Billboard commented that "Charles M. Schulz's celebrated characters are brought to life in Guaraldi's orchestral arrangements, to which he contributes his own sublime meditations on Charlie Brown, Linus and the gang. Guaraldi's musicianship is top-notch. He leads the ensemble through a rocking 'Peppermint Patty,' pounding a bassline with his left hand while dashing off boogie-style runs with his right.
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Published in Petter Dass, Samlede Verker, Vol. 2, edited by Kjell Heggelund / Sverre Inge Apenes, Oslo 1980Petter Dass (1714): D. Mort: Luthers lille Katechismus, forfatted I beqvemme Sange, Copenhagen (known as Katechismus-Sange). Published in Petter Dass, Samlede Verker, Vol. 2, edited by Kjell Heggelund / Sverre Inge Apenes, Oslo 1980 and several other Baroque hymn-poets. The melodies used in this genre of singing may often be traced back to the ones in Kingo's melody collection, or Gradual,Thomas Kingo (1699): Gradual, Odense. Facsimile edition by Erik Norman Svendsen and Henrik Glahn, with afterword by Henrik Glahn: “Om melodiforholdene i Kingos Graduale”, Copenhagen 1967 from 1699, but after having lived for two-and-a-half centuries among generations of Faroese folk singers, the melodies had often evolved into something very melismatic, and rhythmically and harmonically quite complicated, sometimes almost meditative.
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Robert Harry Kyr (born April 20, 1952 in Cleveland) is an American composer, writer, filmmaker, and Philip H. Knight Professor of Music Composition and Theory. Kyr is one of the most prolific composers of his generation, having written 12 symphonies, three chamber symphonies, three violin concerti, numerous large works for orchestra, oratorios and other large-scale choral works, and a wide variety of chamber music. Luminous and sometimes ecstatic in effect, Kyr's work is basically tonal, and often harmonically and rhythmically complex, its sophistication deriving from its synthesis of both modern and ancient modes, as well as Western and Asian musical traditions. An engaged activist for world peace and environmentalism, Kyr has initiated a number of projects that bring together musicians from diverse cultures, or combine music with other media, and touch upon current or historical events.
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For example the Mixolydian mode (root note is the second draw or third blow), produces a major dominant seventh key that is frequently used by blues players because it contains the harmonically rich dominant seventh note, while the Dorian mode (root note is four draw) produces a minor dominant seventh key. Harmonica players (especially blues players) have developed terminology around different "positions," which can be confusing to other musicians, for example the slang terminology for the most common positions (1st being 'straight', 2nd being 'cross', 3rd being 'slant', etc.). Another technique, seldom used to its full potential, is altering the size of the mouth cavity to emphasize certain natural overtones. When this technique is employed while playing chords, care must be taken in overtone selection as the overtones stemming from the non- root pitch can cause extreme dissonance.
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The concerto has three movements, played without any breaks: #Largo non troppo – Allegro agitato – Largo non troppo #Molto lento – Poco meno lento – Andante tranquillo #Finale: Allegro non troppo The first movement represents two-thirds of the entire concerto, and is in a modified sonata- allegro form with a thirty-bar introduction and a cadenza linking the end of the recapitulation to the coda . The movement is modal, predominantly in E Phrygian with excursions to F and G, eventually returning to E Phrygian but with a final cadence on the subdominant, A . The second, slow movement has two main parts, which are preceded by an introduction and concluded with a canonic coda. Harmonically the movement is dominated by quartal harmonies, anchored over pedals of A (bridging from the first movement), D (beginning with and continuing through most of the second section), and G from b.
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In Fales' exploration of timbre, she discusses three broad categories of timbre manipulation in musical performance throughout the world. The first of these, timbral anomaly by extraction, involves the breaking of acoustic elements from the perceptual fusion of timbre of which they were part, leading to a splintering of the perceived acoustic signal (demonstrated in overtone singing and didjeridoo music). The second, timbral anomaly by redistribution, is a redistribution of gestalt components to new groups, creating a "chimeric" sound composed of precepts made up of components from several sources (as seen in Ghanaian balafon music or the bell tone in barbershop singing). Finally, timbral juxtaposition consists of juxtaposing sounds that fall on opposing ends of a continuum of timbral structure that extends from harmonically based to formant-structured timbres (as demonstrated again in overtone singing or the use of the "minde" ornament in Indian sitar music).
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In an Experimentum crucis or "critical experiment" (Book I, Part II, Theorem ii), Newton showed that the color of light corresponded to its "degree of refrangibility" (angle of refraction), and that this angle cannot be changed by additional reflection or refraction or by passing the light through a coloured filter. The work is a vade mecum of the experimenter's art, displaying in many examples how to use observation to propose factual generalisations about the physical world and then exclude competing explanations by specific experimental tests. However, unlike the Principia, which vowed Non fingo hypotheses or "I make no hypotheses" outside the deductive method, the Opticks develops conjectures about light that go beyond the experimental evidence: for example, that the physical behaviour of light was due its "corpuscular" nature as small particles, or that perceived colours were harmonically proportioned like the tones of a diatonic musical scale.
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Songs such as these, so characteristic of her nature, have created the most confessional album of her career, a record in which Olívia not only assumes the role of a great singer, one that the critics and the public are following attentively in Brazil, but as a great song writer, able to create harmonically rich songs, with exceptionally original melodies. The work being intimate, Byington surrounded herself with friends. She invited Leandro Braga to do part of the musical arrangement, and also the Portuguese Pedro Jóia, who played with her in "Clarão" and "Balada do Avesso", and many other great musicians like Marco Pereira, João Lyra, Zero and Zé Canuto. She also wanted to share the singing, so she shared the microphone with Seu Jorge in "Na Ponta dos Pés," and with the great singer Maria Bethânia in "Mãe Quelé," a homage to Clementina de Jesus, a deceased Afro-Brazilian singer.
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Simon has combined in his music the classical and electric guitar sound with modern jazz, rock, acoustic and classical music, free improvisation and other world elements. He has used avant-garde concepts in some of his experimental works, electronic music and multimedia interactive art projects. His body of work has been compared to the work of acoustic guitar virtuoso Don Ross and the experimentation of multi-instrumentalist George Koller. This alliance of music aesthetics is found both in his early compositions (1995–1998)—jazz fusion works in which jazz fundaments are treated with synthesizer sounds and electric instruments creating juxtapositions of intense jazz-rock sonic materials with harmonically rich, sometimes almost esoteric material —and in later pieces (2000–2006), in which the integration of opposites, inherent performance complexities and game-like attitude creates the opportunity for free interaction, fusion of singled sounds or even whole ensembles.
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This came from the rationale that the two music forms were harmonically very similar, were both clearly folk music, the two nations sea-faring heritage, but most importantly to make the politically motivated argument that Britain was and always had been an island of immigrants and that this was reflected in the UK's musical heritage. There was also no doubt at the time of the slow and steady impact the West Indian communities, brought to the UK as part of the Windrush migration, was starting to have on British urban culture, and the early Edward II collective were heavily involved in the emerging anti-fascist Rock Against Racism movement. The band made their LP debut in 1987 with Let's Polka Steady!, with British dub producer Mad Professor, which contained several reggae inspired instrumentals and is usually considered the highpoint for the original line up.
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G major, with one sharp (F) in its diatonic scale], a scale can be built beginning on the sixth (VI) degree (relative minor key, in this case, E) containing the same notes, but from E–E as opposed to G–G. Or, G-major scale (G–A–B–C–D–E–F–G) is enharmonic (harmonically equivalent) to the e-minor scale (E–F–G–A–B–C–D–E). When notating the key signatures, the order of sharps that are found at the beginning of the staff line follows the circle of fifths from F through B. The order is F, C, G, D, A, E, B. If there is only one sharp, such as in the key of G major, then the one sharp is F sharp. If there are two sharps, the two are F and C, and they appear in that order in the key signature.
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The form of the musical work is done like an important dialog between the orchestra and solo instrument, respecting the following pattern: A-B1-C-B2. „A” and „C” being conducted by the orchestra, while the "B" noted moments are for the soloist, accompanied by the orchestra. (The recording for "Teleenciclopedia" show has only the „B2” section.) Harmonically and melodically, the scores distinguish itself by the modulation richness (Romantic style), chromatic passages, the contrast between melodic fragments build exclusively with jumps and gradually went. The best part remembered by the audience is the introductory piano section, composed on an unusual chord progression (D major chord - E\flat Chord with additional sixth as musical delay of the fifth, demanding to adapt the version of major tonality, the bass being I-II6-5 în D major, with a Neapolitan sixth for the second step of the chord progression.
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Gabrels performs periodically with Club D'Elf, a Boston-based underground dub/jazz/Moroccan/trance/electronica group led by bassist Mike Rivard, and appears on Now I Understand, (Accurate Records, 2006), their first studio recording; the album also features John Medeski & Billy Martin (Medeski, Martin & Wood), DJ Logic, Mat Maneri, Duke Levine, Alain Mallet, Mister Rourke, and more. Improvising in long form, as Club D'Elf does, gives Gabrels "the time to meander and harmonically poke at things, make the music interesting," he said in a Berklee College of Music interview in 2012, going on to explain that free improvisation contributes to his ability in different settings, such as on stage with The Cure, "to refine that down to opportunities where I can hit that one note that throws the world off its axis for two bars," yet to do so fully within the context of the song and its lyrics.
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Peter Watrous in an article for The New York Times states: > The M-Base group in Brooklyn, working with both jazz and pop forms, makes > music that at first sounds like funk from the 1970s. Like the music played > by Mr. Marsalis (and his brother Wynton) the music made by M-Base - Steve > Coleman, with Greg Osby, Cassandra Wilson and Geri Allen – is, at its best, > filled with subtle ideas working behind the mask of popular music. In Mr. > Coleman's group a singer is supported by an electric bass, guitar, drums and > electric keyboards, a shiny musical mix that has familiar rock and funk > references; yet, because of all its rhythmic and metric manipulations, > sounds new. Although the voice – typically treated as the focal point of any arrangement in which it is included – was not an obvious choice for M-Base's complex textures or harmonically elaborated melodies, Wilson wove herself into the fabric of these settings with wordless improv and lyrics.
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Telemann's music was one of the driving forces behind the late Baroque and the early Classical styles. Starting in the 1710s he became one of the creators and foremost exponents of the so-called German mixed style, an amalgam of German, French, Italian and Polish styles. Over the years, his music gradually changed and started incorporating more and more elements of the galant style, but he never completely adopted the ideals of the nascent Classical era: Telemann's style remained contrapuntally and harmonically complex, and already in 1751 he dismissed much contemporary music as too simplistic. Composers he influenced musically included pupils of J.S. Bach in Leipzig, such as Wilhelm Friedemann Bach, Carl Philipp Emmanuel Bach and Johann Friedrich Agricola, as well as those composers who performed under his direction in Leipzig (Christoph Graupner, Johann David Heinichen and Johann Georg Pisendel), composers of the Berlin lieder school, and finally, his numerous pupils, none of whom, however, became major composers.
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His 1993 paper On the relationship between timbre and scale formalized the relationships between a tuning's notes and a timbre's partials that control sensory consonance. A more accessible version also appeared in Experimental Musical Instruments as "Relating Tuning and Timbre" These papers were followed by two CDs, Xenotonality and Exomusicology (some songs from which can be freely downloaded here), which explored the application of these ideas to musical composition. In his 1998 book Tuning, Timbre, Spectrum, Scale, Sethares developed these ideas further, using them to expose the intimate relationship between the tunings and timbres of Indonesian and Thai indigenous music, and to explore other novel combinations of related tunings and timbres. Where microtonal music was previously either dissonant (due to being played with harmonic timbres to which it was not "related"), or restricted to the narrow range of harmonically related tunings (to retain sensory consonance), Sethares's mathematical and musical work showed how musicians might explore microtonality without sacrificing sensory consonance.
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Furthermore, it could be seen as a pedantic delay before reaching the emotional climax of a movement, which in the classical tradition had tended to be at the transition from the development section of the movement to the recapitulation; whereas Berlioz and other "modernists" sought to have the emotional climax at the end of a movement, if necessary by adding an extended coda to follow the recapitulation proper. Mendelssohn's solution to this problem was less sensational than Berlioz's approach, but was rooted in changing the structural balance of the formal components of the movement. Thus typically in a Mendelssohnian movement, the development-recapitulation transition might not be strongly marked, and the recapitulation section would be harmonically or melodically varied so as not to be a direct copy of the opening, exposition, section; this allowed a logical movement towards a final climax. Vitercik summarizes the effect as "to assimilate the dynamic trajectory of 'external form' to the 'logical' unfolding of the story of the theme".
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The Oxford Companion to Jazz describes Hines as "the most important pianist in the transition from stride to swing" and continues: Hines himself described meeting Armstrong: Hines continued: In their book Jazz (2009), Gary Giddins and Scott DeVeaux wrote of Hines's style of the time: In his book Louis Armstrong: Master of Modernism, Thomas Brothers described Hines' style: > Rhythmically, Hines was very good at taking his melodic lines further and > further way from the fixed foundation, creating a radical sense of > detachment for a few beats or measures, only to land back in time with great > aplomb when finished with his foray. The left hand sometimes joins in the > action...What is especially distinctive about Hines are the startling > effects he creates by harmonically enhancing these rhythmic departures. Like > Armstrong, he thought of chords creatively and with great precision. But he > was a step ahead of his colleague in his willingness to experiment.
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Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines. Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B while another subset would sing the raised pitches of F or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded . Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed musica ficta, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between an F and an F or a B and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.
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Saxophonist Benny Green wrote that Tatum was the only jazz musician to "attempt to conceive a style based upon all styles, to master the mannerisms of all schools, and then synthesize those into something personal". Tatum was able to transform the styles of preceding jazz piano through virtuosity: where other pianists had employed repetitive rhythmic patterns and relatively simple decoration, he created "harmonic sweeps of colour [...and] unpredictable and ever-changing shifts of rhythm." Tatum's bitonal playing with Oscar Moore on "Lonesome Graveyard Blues" (1941) Musicologist Lewis Porter identified three aspects of Tatum's playing that a casual listener might miss: the dissonance in his chords; his advanced use of substitute chord progressions; and his occasional use of bitonality (playing in two keys at the same time). There are examples on record of the last of these going back to 1934, making Tatum the farthest harmonically out of jazz musicians until Lennie Tristano.
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Through these musicians, a new vocabulary of musical phrases was created. With Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House. Parker's system also held methods of adding chords to existing chord progressions and implying additional chords within the improvised lines Gillespie compositions like "Groovin' High", "Woody 'n' You", and "Salt Peanuts" sounded radically different, harmonically and rhythmically, from the swing music popular at the time. "A Night in Tunisia", written in 1942, while he was playing with Earl Hines' band, is noted for having a feature that is common in today's music: a syncopated bass line. "Woody 'n' You" was recorded in a session led by Coleman Hawkins with Gillespie as a featured sideman on February 16, 1944 (Apollo), the first formal recording of bebop. He appeared in recordings by the Billy Eckstine band and started recording prolifically as a leader and sideman in early 1945.
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When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.Millington (2001) 294–5 This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold;Millington (2001) 286 still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser.Puffett (1984) 43 From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs.
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A grace note represents an ornament, and distinguishing whether a given singular grace note is to be played as an appoggiatura or acciaccatura in the performance practice of a given historical period (or in the practice of a given composer) is usually the subject of lively debate. This is because we must rely on literary, interpretative accounts of performance practice in those days before such time as audio recording was implemented, and even then, only a composer's personal or sanctioned recording could directly document usage. As either an appoggiatura or an acciaccatura, grace notes occur as notes of short duration before the sounding of the relatively longer-lasting note which immediately follows them. This longer note, to which any grace notes can be considered harmonically and melodically subservient (except in the cases of certain appoggiaturas, in which the ornament may be held for a longer duration than the note it ornaments), is called the principal in relation to the grace notes.
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A string quartet has rarely been so loose. The members could rarely hold themselves from smiling and rocking out, banging their heads to their own chords." In 2009, Southworth was the first composer to be commissioned by The Explorers Club in New York, which commissioned "Volcano" for the Calder Quartet, and was awarded the Bang on a Can People's Commissioning Fund commission for "Concerning the Doodle" for the Bang on a Can All-Stars which was premiered on February 24, 2010 at Merkin Hall at the Kauffman Center in New York, NY. Allan Kozinn from The New York Times described the performance "Christine Southworth’s “Concerning the Doodle” accompanies a film (about the adventures and fantasies of a dog) by the Clever Girls Collaborative. It is straightforward, texturally and harmonically: the piece begins as an assertive blast of hard rock, driven by David Cossin’s drumming, the guitarist Mark Stewart’s power chords and Robert Black’s solid bass.
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The Allmusic review by Steve Huey awarded the album 5 stars and states "Finger Poppin' was the first album Horace Silver recorded with the most celebrated version of his quintet... It's also one of Silver's all-time classics, perfectly blending the pianist's advanced, groundbreaking hard bop style with the winning, gregarious personality conveyed in his eight original tunes. Silver always kept his harmonically sophisticated music firmly grounded in the emotional directness and effortless swing of the blues, and Finger Poppin' is one of the greatest peaks of that approach. A big part of the reason is the chemistry between the group – it's electrifying and tightly knit, with a palpable sense of discovery and excitement at how well the music is turning out... Finger Poppin' is everything small-group hard bop should be, and it's a terrific example of what made the Blue Note label's mainstream sound so infectious".Huey, S. [ Allmusic Review] accessed 17 November 2009.
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"Just One Last Dance" is a song by German recording artist Sarah Connor, taken from her third studio album, Key to My Soul (2003). The pop ballad was written and produced by Kay Denar and Rob Tyger and harmonically draws similarities to "From Sarah With Love", another major hit from Connor also written and composed by Denar and Tyger (along with Connor), both having their verses and choruses in B minor and D minor, respectively, as well as a key change to F sharp minor towards the end of the song. A reissue featuring guest vocals by Connor's then-husband Marc Terenzi's former band Natural was released by X-Cell Records on 1 March 2004 – one month after the birth of the couple's son Tyler – as the second and final single from the album. Lyrically, the song alludes to couple's final dance in a Spanish cafe before they are forced to part ways.
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Having had a musical childhood, with a mother who wrote songs and performed them on the piano, at Cambridge Drake began himself to write and perform his own compositions. In 1968 he was discovered by Joe Boyd, who signed a contract with him as his manager, agent, publisher and producer, later recalling "The clarity and strength of his talent were striking ... his guitar technique was so clean it took a while to realize how complex it was. Influences were detectable here and there, but the heart of the music was mysteriously original". Over the following two years Drake recorded and released two albums – Five Leaves Left and Bryter Layter – of understated but harmonically complex songs that owed as much to jazz as to folk traditions, but which sold poorly, partly due to his acute shyness and increasing reluctance to perform live. Drake slipped into a period of introversion and depression, returning to his parents’ home in Tanworth, from where he was to record his bleak final album Pink Moon.
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Brown has many trademarks in his composing style, which is often rhythmically dynamic and harmonically unconventional, calling for a wide vocal range. His vocal lines often include internal rhymes, as well as melodic phrases which do not adhere to a predictable 4-measure length. He favors songs in written in AABA' form, with some exceptions to this form in his show Parade. Perhaps most characteristic are his love duets; all five ("I'd Give it All for You" from Songs for a New World, "All the Wasted Time" from Parade, "The Next Ten Minutes" from The Last Five Years, "Tell Her" from 13, and "One Second And A Million Miles" from The Bridges of Madison County) are written in a very distinct format: male-female-both, compound time in the duet section (two using hemiola), and four of the five end with the couple singing the same pitch.Nisbet, I. (2014), ‘“Don’t Ya Think That’s Pretty Music?” – Jason Robert Brown’s melodic construction from Songs for a New World to The Last Five Years’, Studies in Musical Theatre 8: 3, pp.
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At first Slovenian style polka was just music for ethnic clubs and union halls, but the commercial success of Frankie Yankovic (Jankovič) and other musicians soon introduced the genre to a wider audience. William Lausche incorporated the elements of classical music and early jazz at which point the style took on a type of swing that can be heard in his piano playing, even on some early Yankovic recordings. Johnny Pecon and Lou Trebar consequently extended the style to its farthest reaches harmonically, including blue notes, substitutions and compounded symbolism, elements of whole-tone scales, modality, borrowed and altered chords homophonically or in the implied or broken form and compounded and odd rhythmic embellishments or reductions, in addition to the use of structural and textural dynamics and phrasing that had up to that point never been utilized to such a degree. In addition to Frankie Yankovic, the most important pioneers in developing this style of music include Matt Hoyer, Dr. William Lausche, Johnny Pecon, Lou Trebar, Johnny Vadnal, Eddie Habat, and Kenny Bass.
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Pieces that exemplify this new direction include Libertango and most of the Suite Troileana, written in memory of Aníbal Troilo. In the 1980s Piazzolla was wealthy enough, for the first time, to become relatively autonomous artistically, and wrote some of his most ambitious multi-movement works. These included Tango Suite for the virtuoso guitar duo Sergio and Odair Assad; Histoire du Tango, where a flutist and guitarist tell the history of tango in four chunks of music styled at thirty-year intervals; and La Camorra, a suite in three ten-minute movements, inspired by the Neapolitan crime family and exploring symphonic concepts of large-scale form, thematic development, contrasts of texture and massive accumulations of ensemble sound. After making three albums in New York with the second quintet and producer Kip Hanrahan, two of which he described on separate occasions as "the greatest thing I've done", he disbanded the quintet, formed a sextet with an extra bandoneon, cello, bass, electric guitar, and piano, and wrote music for this ensemble that was even more adventurous harmonically and structurally than any of his previous works (Preludio y Fuga; Sex-tet).
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The manuscript is particularly informative in that it contains tunes found in contemporary and later collections, but often in distinct variants. Curds and Whey, with 3 distinct strains here, appears in a similar version with more variations, in the George Skene manuscript, written in Aberdeenshire some 20 years later, there called Wat ye what I got late yestreen; in The Northern Minstrel's Budget a verse list of tunes from the early 19th century, the title of this appears as And I got yesternight curds and whey, suggesting that Atkinson's and Skene's titles are both fragments of the same lyric. Another tune in the book, The Reed House Rant, here with 8 strains, also appears elsewhere - Playford printed a different variant as "A Jig divided 12 ways", while it appeared again half a century later as an Old Lancashire Hornpipe in Walsh's Compleat Collection, and later still back in Newcastle, as a 2-strain version in the William Vickers manuscript. Another tune in the manuscript, a triple-time hornpipe called Uncle John seems to be connected, melodically, harmonically and structurally, with Madam Catbrin's Hornpipe, from Marsden's collection of 1705.
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The power of the instrument is incisive enough to fill a large room with an audience. The striking position of the hammers, at around one twelfth of the speaking length of the strings, gives this instrument a thinner and much less harmonically rich sound than a modern piano whose striking point is, for optimum power and tonal richness and complexity, around one seventh of the speaking length. (This optimum striking distance was discovered and standardized by the first John Broadwood before the end of the 18th Century indicating that he possessed an exceptional ear for identifying and eliciting the maximum musical appeal from his instruments bearing in mind that he had no knowledge of, or access to the applied physics and scientific measuring techniques that were more recently used to identify ideals of piano design for the modern era.) I [???] judge that the surprising qualities of an early English grand pianoforte would have persuaded the 18th Century prospective keyboard instrument purchaser to buy it in preference to a traditional harpsichord and to use the new music written for it to show off its capabilities to envious house guests.
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A pedal harp typically has a range of six and a half octaves (46 or 47 strings), weighs about , is about high, has a depth of , and is wide at the bass end of the soundboard. The notes range from three octaves below middle C to three and a half octaves above, usually ending on G. The tension of the strings on the soundboard is roughly equal to a ton (10 kilonewtons). The lowest strings are made of copper or steel-wound nylon, the middle-lower of gut, and the middle to highest of nylon, or more or all gut. The pedal harp is identifiable as a large instrument with a straight pillar for support sometimes adorned with a crown at the top; a soundboard, which is pear-shaped with an extended width at the bottom in most harps, while some older pedal harps have soundboards that are straight-sided though widening toward the bottom; a mechanical action made up of over 1,400 parts attached to a harmonically curved neck; and a base with seven pedals that are arranged in the following: D, C, B (left) and E, F, G, A (right).
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Corresponds to the initial explorations of the site, composed of four structures; two of which are restored with rectangular shape with columns to the front, that limit spaces between the rooms, these two structures are part of the plaza with pyramidal foundation with central altar and other unexplored structures (mounds to the north and east of the plaza). The highlight of this complex is the circular pyramid, discovered in 1948 by Prof. Jose Corona Nuñez, it is the most important structure of the archaeological site that, from its design and finishing, constitutes one of the most beautiful works of the prehispanic architecture in western Mexico. "The monument is of round base 24 meters in diameter and 4 meters high, originally was a cylinder with vertical walls (compact drum) crowned with a perforated parapet with small cruciform windows that give the construction the aspect of a large brazier, with five stairs harmonically distributed in its contour"; in the superior part there are two rectangular altars, and it is known as a Quetzalcoatl or Ehécatl temple,Quetzalcoatl temples probably dedicated to Ehécatl, are mesoamerican round buildings, generally related to Ehécatl.
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Following the commission from the officials of the Odessa's Opera and Ballet theatre, Lyatoshinsky made the trip to Tadzhikistan in order to study folk music and compose a ballet about the life of local people. As a result, Lyatoshinsky composed Three Musical Pieces for the violin and the piano based on the folk music of Tadzhikistan (the region very little known or even unheard of before Stalin's nationalism idea). ‹see L's letters, in Grecenko› Amongst Lyatoshinsky's compositions is an arrangement of a Jewish folk song ‘Genzelex’ (Little Geese). In it, he preserved an original melody and decorated it harmonically, using F major and d minor tonalities and added complex chords within the harmony. (This composition remained in the archives of the composer until it was re- discovered in 2000.) From 1935 to 1938 and from 1941 to 1944 Lyatoshinsky taught concurrently at the Moscow Conservatory. Lyatoshinsky wrote his Second Symphony in B flat (1936) in his favourite modernistic style, obviously knowing that this was not quite what was expected of him. He is ‘painting’ disturbing images of the dark reality of Soviet life, often using means of atonality. Written in the conventional three- movement form, the symphony is full of contrasting moods and severely dramatic conflicts.
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The Jesuit Tomàs Cerdà (1715–1791) gave a famous astronomy course in Barcelona in 1760, at the Royal Chair of Mathematics of the College of Sant Jaume de Cordelles (Imperial and Royal Seminary of Nobles of Cordellas).Dr. Ramon Parés. Distancias planetarias y ley de Titius–Bode (Historical essay). www.ramonpares.com From the original manuscript preserved in the Royal Academy of History in Madrid, Lluís Gasiot remade Tratado de Astronomía from Cerdá, published in 1999, based on Astronomiae physicae from James Gregory (1702) and Philosophia Britannica from Benjamin Martin (1747). In the Cerdàs's Tratado appears the planetary distances obtained from the periodic times applying Kepler's third law, with an accuracy of 10−3. Taking as reference the distance from Earth as 10 and rounding to whole, the geometric progression [(Dn × 10) − 4]/[(Dn−1 × 10) − 4] = 2, from n = 2 to n = 8 can be expressed. And using the circular uniform fictitious movement to Kepler's Anomaly, Rn values corresponding to each planet's ratios may be obtained as rn = (Rn − R1)/(Rn−1 − R1) resulting 1.82; 1.84; 1.86; 1.88 and 1.90, which rn = 2 − 0.02(12 − n), the ratio between Keplerian succession and Titius–Bode Law, which would be a casual numerical coincidence. The reason is close to 2, but increases harmonically from 1.82.
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