"They found a reference for almost every shot," Legato said.
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With exemplary legato phrasing, she combined cool objectivity and rapture.
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The musical term "legato" is a direction in sheet music.
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When melodies do emerge, they plod out as legato funeral dirges.
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Where it was punchy, they slid over it in a smooth legato.
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The Jungle Book, Robert Legato, Dan Lemmon, Andrew R. Jones, Adam Valdez
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"They've all heard the word 'legato,'" he said of today's young singers.
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"Make it a little more impressionistic but yet still feel it," added Legato.
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If that player happens to be prone to gratuitous legato runs, all the better.
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Claire Legato, 21, was shot on April 15 in Cleveland, Ohio, according to Cleveland.com.
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Still, the legato elegance and vocal weightiness of his singing have their own rewards.
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Sidi Larbi Cherkaoui's "Harbor Me," for three men, is a study in nonstop legato flow.
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A.T. He brought his burnished sound, and powerful legato, to the role of Count Anckarstrom.
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But when Dewdrop starts to travel backward, their dynamics change: They move with legato fluency.
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According to Legato, director Jon Favreau was "more nervous" about pushing the scene too far.
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The opposite of "legato" would be "staccato," which is abbreviated in crossword puzzles as STAC.
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THE LION KING – (L-R) Jon Favreau, Caleb Deschanel, James Chinlund, Robert Legato and Andy Jones.
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Favreau or visual effects supervisor Rob Legato could just add a "light" to boost the intensity.
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Her Azucena is a creation of soaring high notes, fluttering trills, seductive legato, chilling low tones.
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In musical notation, legato calls for a series of notes to be played or sung smoothly together.
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"To them, that was the one," said Legato of children who haven&apost seen the 1994 movie.
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The texture of his sound is gentle but its presence powerful, sustained through long, calm legato lines.
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Poulenc is asking here for the music to be "très lié" — it has to be legato and intimate.
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Although he never achieved broad stardom, his legato playing and protean harmonic flow influenced a generation of guitarists.
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Legato told Insider he has gone back and watched the movie over and over again after receiving criticism.
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But in one version of the song, that legato is eliminated so that each letter has space to breathe.
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No Rossini tenor today has a more liquid legato or a more effortless reach to high C and above.
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There were rough patches in her singing: sustained tones that turned wobbly, tenderly soft phrases that lacked legato elegance.
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This aria benefits when sung by a soprano with plush sound and velvety legato, not Ms. Radvanovsky's selling points.
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It was all thick-cream legato, marvels of equilibrium and transition, falling, rising, bending and curving in one seamless sequence.
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As Dido, she seemed overly concerned with lovely tone and legato phrasing, sometimes at the expense of making words clear.
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Scurlock's death follows those of Claire Legato, Muhlaysia Booker, Michelle Washington, and Chynal Lindsey in the last 30 days alone.
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With his striking command of legato, melodies flow in a broad stream, embedded in but never overpowered by the ensemble.
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Ms. Nuñez, the Royal Ballet's reigning prima ballerina, has a pure line, a melting plasticity and a smooth legato quality.
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Both Jones and Legato said kids they spoke with don&apost have an issue with any perceived lack of emotion.
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Jones, Legato, and Newman agreed that if the characters showed expressive emotions, the entire movie would need to be altered.
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This year, at least six transgender women — Lindsey, Booker, Dana Martin, Ashanti Carmon, Claire Legato, and Michelle Simone — have been killed.
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And on one misty passage of "Pantheon" — around 2:30 — he comes close to the phantasmagoric, frictionless legato of Allan Holdsworth.
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Endowed with an ample, vigorous voice and a knack for expansive legato lines, he may mature into a tenor to watch.
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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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They made the surrounding digits less stiff, to ensure that the robot could also play progressions that were soft and slurred, or legato.
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The enchantment begins with the opening measures of the score, played throughout at a brisker tempo than usual, but with beautiful legato phrasing.
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"If we made it cartoony, then you would lose the moment of reality, which I can identify with as a person," Legato continued.
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Some distant church bells start ringing, and with warm sound and smooth legato phrasing, Gobbi sings a gentlemanly line that complements the bells.
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Compared with many previous piano bots, this one showed flexibility in volume control, thumb movements and playing both staccato and legato, Ms. Hughes said.
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In both, the strings play with mutes, creating a sound like a summer-morning haze, over which the clarinet drifts in unhurried legato lines.
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In long stretches of coloratura, especially, her legato, while smooth, retained remarkable clarity of pitch and evenness of rhythm, flickering like a lambent flame.
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Words to Know Learn the difference between LENTO and LEGATO in this latest list of words you should know to become a better solver.
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Our photographs above were taken by Roberta Hershenson, Dan Kitwood, Librado Romero, Steve Legato, Suzanne DeChillo, Rajat Gupta, Tibor Rosta, Alice Buckley and Karsten Moran.
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In "Retour au Champs de Mars," for instance, a synth colored like a fluorescent fan whirs and settles into a pulse as legato strings glide overhead.
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She fills her music to the brim: She doesn't hang on beats or counts; she floods her every phrase with singing legato, rhythmic brio and suspenseful variety.
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The first is all legato flow and perfumed fragrance; though the fairy's gestures indicate that her gift is beautiful arms, what's most evident is her tranquil openness.
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Just last week, Claire Legato, a transgender woman from Cleveland, died from the injuries she received during a shooting in April, according to the Human Rights Watch.
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Then, switching back to his rougher extended-technique pitches, he once again sneaked in that liquid legato line of traditional notes, this time in a raspier style.
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What's fascinating in those opening lifts is how they fit the music — matching its overall phrasing in long legato sweeps rather than following the quicker incidental pulse.
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The quietly elegant Ms. Scott, in a solo, maintained prodigies of balance on one leg while keeping her raised leg and other body parts in legato motion.
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Though there are jumps, balances and lifts, there are no highlights; the choreography's greatest beauty lies in the silken legato flow that threads together a wide range of steps.
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"Dilly Dilly," for 11 dancers, is to seven folk songs as recorded charmingly by Burl Ives; my keenest pleasure came from listening to Ives's effortless legato, diction and calm.
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But there is also comfort: the warmth of the hearth fire, tranquil and legato on the bow; lazy days punctuated only by the pizzicato of ice droplets on the roof.
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"Jon was more nervous about it than I think they were," said Legato, referencing the Disney execs who he said encouraged them to push what they could do with the scene.
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In the demanding aria "Casta diva," Ms. Meade sang Bellini's ornately embellished phrases with velvety legato; climactic high points in the flowing melody soared over the orchestra, elegantly conducted by Joseph Colaneri.
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That ruling had been appealed by out-of-state e-cigarette makers Legato Vapors, Rocky Mountain E Cigs and Derb E Cigs, supported by the Right to be Smoke-Free Coalition trade group.
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He made his third entrance in profile, slowly walking in a single, gliding, legato current so smooth and strong that there was never a moment when you could spot a transfer of weight.
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While Jacob and the barmaid unearth a shared family history — and Scott charges around like a dog in a bacon factory — the director, Robert Legato, gives us no sense of their relative locations.
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It's surprisingly robust: there's a transport section with playback controls, a looping function, the ability to solo and mute tracks, and global settings that assign the track's BPM, legato, swing, and output routing.
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For years, she has looked gifted but too self-critical to cast a sustained spell; in her first Giselle and other roles, she carried the audience, not least with impressively long legato lines.
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La Sapienza di Roma, legato ad una boa ed equipaggiato con modem acustici e sensori per il rilevamento della salinità e della temperatura del mare, viene calato nelle acque del sito archeologico di Marzamemi (Siracusa).
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Mr. Missé and Ms. Quiroga make each duet a demonstration of cantilena — the singing legato principle that, in music, shapes the flow of the breath into a flexible and varied current — at its most sensuous.
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He makes it jump through hoops too, changing rhythm from staccato to legato and back again: It dips and dives, sometimes making his words come out in onelongrushwithnogapsforbreath, and sometimes, he stretches his sentences sibilantly. Pausing.
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You could take a track that's got a lot of energy, really beat-y and rhythmic, and put a really croon-y vocal on it—a legato vocal that draws out the notes—and ruin it.
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She was also playing a West Texan, but her accent was more flowing, in part because she was relaxing her vowels — Bay described it as a legato to Cooper's staccato, appropriate for her world-weary character.
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Punctuating the string of legato scales and curlicues are staccato eighths — notes that are clearly articulated and separated from their neighbors — and he dug into each of these with bite and more than a touch of roughness.
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Modern controllers require the player to combine a sweeping legato — two analog sticks, one controlling a character's head and one its feet, are used simultaneously — with the precise staccato of four buttons, two triggers and two bumpers.
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That's the letters L, M, N, O and P of the English alphabet, which, if you sing them in the alphabet song, tumble together in a brisk legato that makes the letters hard to distinguish from one another.
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Since the beginning of May, at least nine black transgender women have died or been killed in the United States: Zoe Spears, Claire Legato, Muhlaysia Booker, Michelle Washington, Paris Cameron, Chynal Lindsey, Chanel Scurlock, Layleen Polanco and Johana Medina.
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Especially at Saturday's performances, the dancers illustrated the flow of line that was a central characteristic of Ashton's style: line in both space and time, with still positions that radiate and phrasing that threads staccato steps into a larger legato continuity.
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The orchestral textures on Saturday were, indeed, polished rather than prickly, and Mr. Manacorda valued long legato lines over moment-by-moment intensity or daring speed; the performance felt like it moved along at a steady state of mezzo forte.
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It's a generous helping of 23 songs, including works by some Baroque regulars as well as people I didn't know quite as well, like the 18th-century Domènec Terradellas, whose dignified "Donec ponam" is sung with lovely, twisting, legato line.
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As mutilating young boys for musical ends mercifully died out in the late 1800s, Ms. Hallenberg's exceptionally wide-ranging, ruby-color mezzo, with its serene legato and jaw-dropping coloratura, has inevitably made her a go-to artist for revivals of such long-unperformed works.
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"I&aposve talked to kids and some of them don&apost even want to go back and see the 2D animated movie because they&aposre not used to that like we were," said Legato, claiming that some children prefer the new film to the original.
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Sometimes these echoed the old national schools of cello playing: the pristine tone and smooth legato of the French school, exemplified by Pierre Fournier; the flexible precision of the German school, associated with Emanuel Feuermann; the booming resonance of the Russian school, embodied by Rostropovich.
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She was, however, the star of the sedate Triple Concerto, effortless and authoritative among her fellow soloists: Yefim Bronfman, making the most of an unremarkable piano part, and the veteran cellist Lynn Harrell, whose technique repeatedly slipped with crunching bow strokes, imprecise intonation and a tired legato.
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But Mr. Ferguson also has a few legato passages to define the central character with sympathetic grace notes, as in a deflating conversation with a fellow actor boasting about an audition, or, more happily, when Sam learns that he himself has scored a callback from Lincoln Center Theater.
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"Vivir," a premiere set to a selection of Latin and Afro-Caribbean music by Darrell Grand Moultrie, is the kind of emphatically anti-musical dance-fest that would seriously irk me with lesser dancers — where the music has a legato flow, the choreography is punchily staccato, and vice versa.
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The honeyed warmth of Maeve Höglund's soprano (the noble Arminda) gained impressive bloom in the course of the evening, and the mezzo-soprano Kristin Gornstein, pacing the lawn as Ramiro, whom Arminda rejects, spun lines of an uncannily silky legato that transcended the tricky acoustics of the open space.
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He has an extraordinarily sensitive touch, and specializes in the surgical separation and articulation of voices: when he plays a crisp, marcato line with his left hand and a flowing legato with his right, the parts are so distinct that it sounds as though two different people were at the instrument.
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Billed on the program as a continuation of his long-in-process solo saxophone series, "The Classic Guide to Strategy," he initially mirrored some of the quick-changing style heard during the work for cello — as he let raunchy lines of harshly overblown texture alternate with brief legato phrases, suggestive of mellow balladry (if only for a moment).
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M.C. His singing here at the Met in 2011 in the Count di Luna's aria "Il balen" beautifully demonstrates the qualities his admirers cherished: the burnished, russet-colored, slightly covered sound; the velvety legato phrasing; the uncanny breath control; and the way he could summon reserves of vocal power to send a climactic passage soaring over the orchestra.
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K. power adapter was one of those annoying ones that have a protruding ridge, so the only way my computer charger would remain in the socket was to wedge my copy of "Calypso" between my chair and said socket, ensuring my laptop didn't die but forcing me to restrict my movements to all but the most legato typing.
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Like its inaugural year, the conference event — guided by more than 80 industry advisors — will feature informative panel discussions lead by top innovators and industry heads like Rob Legato — know as the visual effects supervisor on films such as "The Lion King" and the upcoming "The Irishman" — of Warner Media Innovation Lab and Transform Group CEO and Blockchain Thought Leader, Michael Terpin.
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" Accepting the award for Best Visual Effects for The Jungle Book, VFX supervisor Robert Legato paid tribute to his fellow winners — Adam Valdez, Andrew R. Jones and Dan Lemmon — and still managed to squeeze in a joke about one of Trump's most memorable campaign trail quotes, in which he warned, "we're gonna win so much, you may even get tired of winning.
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To give Tirl a bit more room, Legato adjusts his scale in the world so he's a bit bigger compared with the rest of the scene—not so much that he "moves through like the BFG," as Favreau puts it, since that would make the Steadicam shot feel swooping and unnatural, but just enough that Tirl's footwork gets him a sightline past the interloping hyena.
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The horn section will chime in for a legato chorus, then snap shut for the harpsichord; the harpsichord ends and a distorted bass scrapes into the bottom of the mix; now here's a contorted, syncopated funk breakdown; tear it down, fall into a ballad; let that decay and open into a Tom & Jerry-style cartoon track, uncanny woodwind and strings for a silent cartoon.
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There was something particular, specialized and unusual about pretty much every individual sound he produced: his chords, struck roughly with his thumb, framed with strange temporal relations to the beat, and then clipped off; his sparing and startling use of fast legato flourishes; his almost constant patrolling of microtonal areas, all the pitches between the notes, through the careful use of his tremolo bar in his right hand and the fingers of his left hand; his ways of making a phrase sound physical, falling and rising and pulsating.
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Dana Martin, 230 Ellie Marie Washtock, 229 Jazzaline Ware, 230 Ashanti Carmon, 217 Claire Legato, 333 Muhlaysia Booker, 35 Michelle "Tamika" Washington, 22020 Paris Cameron, 22020 Chynal Lindsey, 26 Chanel Scurlock, 23 Zoe Spears, 23 Brooklyn Lindsey, 32 Denali Berries Stuckey, 29 Tracy Single, 22 Kiki Fantroy, 20203 Bubba Walker, 55 Pebbles LaDime "Dime" Doe, 24 Jordan Cofer, 22 Bailey Reeves, 17 Bee Love Slater, 23 Jamagio Jamar Berryman, 30 Itali Marlowe, 29 Brianna "BB" Hill, 30 Nikki Kuhnhausen, 17 Alice Carter, 35 Yahira Nesby, 33 The 2020 presidential hopeful advises coal miners to move into new industries — but it's not that simple.
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Once defeated by Vash, Legato demands that Vash finish him, threatening the life of Livio and everyone else Vash holds dear. Feeling he has no choice, Vash shoots Legato in the head. Legato dies smiling.
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In music performance and notation, legato (; Italian for "tied together"; French lié; German gebunden) indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring (as that term is interpreted for some instruments), legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur (a curved line) under notes that form one legato group.
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Feeling like he has no other option, Vash shoots Legato in the head. Legato dies smiling, knowing that his death will scar Vash for life.
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Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato (sometimes referred to as portato).
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From this day onwards LEGATO has become much faster and organized. Composed of students, graduates and academics, to this day LEGATO is arguably Turkey's biggest and most active homosexual group.
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Seeing Knives in such a state traumatizes Legato, who swears revenge on Vash, eventually leading Legato to plan a killing game to torment and eventually kill Vash. Legato first appears in the manga claiming to be a messenger, introducing Vash to his proposed killing game. He warns that Vash will be pursued by "demons" who are intent on killing him. Legato leaves Vash a Coin Case, telling Vash that each of these assassins will be carrying a coin.
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When Vash finally has Legato cornered, Legato reveals that he is going to allow Vash to kill him. Vash refuses. Legato insists that it is okay and that he has no reason to continue living. Seeing that his words are not working on Vash, he threatens to kill Milly and Meryl if Vash doesn't finish him off.
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Legato immediately becomes infatuated with Knives and swears eternal loyalty, showing his willingness to allow Knives to kill him. Knives takes the boy in as a tool, and presumably names him. Later, Legato and Dr. Conrad, a friend of Knives, found July City in ruins and Knives heavily wounded. Legato sees Vash in the distance, and realizes Vash is the cause of Knives's serious injury, but Conrad convinces Legato to help tend to the wounded Knives instead of chasing after Vash.
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There is a fine line between legato and two-hand finger tapping, in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a more fluid, smooth sound to a passage.
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His playing style include: rapid thrills, legato and frequent octave move.
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Elendira also has the power to project the image of the death of her opponents by touch, crippling them with the realistic illusion. She is jealous of Legato, as Legato is not part of the Guns, suggesting that Legato is more important to Knives than she. Elendira was apparently one of Knives' very first companions, seen walking with him as a child along with Legato. She fights Livio twice, the first time skewering his torso with many nails after launching him through several buildings.
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In synthesizers legato is a type of monophonic operation. In contrast to the typical monophonic mode where every new note articulates the sound by restarting the envelope generators, in legato mode the envelopes are not re-triggered if the new note is played "legato" (with the previous note still depressed). This causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the final note is released.
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Wolfwood later betrays the Guns and rescues Vash, shooting the weakened Legato in the back of the head. The wounded Legato is left in a catatonic state, with his body slowing breaking down. However, Legato reveals a full recovery in time to save Knives from Zazie the Beast, where it is revealed his power functions through the use of microscopic strings that connects his mind to the muscles of his victims. While in confinement in his coffin, Legato developed his power further to restore his broken body to functional form.
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The anime shows Legato in a less sympathetic light. In the anime, Legato is far less emotional than his manga counterpart and it is never explained why he joined Knives. Legato is simply a sadistic nihilist who is determined to torment Vash and aid Knives in his quest to eradicate humanity. He also attached Vash's arm to himself because Vash "refused to be by his (Knives) side".
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Preludietto :::2. Sostenuto – Poco più andante :::3. Andante molto tranquillo e legato :::4.
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Legato forces Vash to kill him by using his powers to threaten Milly and Meryl. Legato thus becomes the first person that Vash ever consciously and willfully kills, fulfilling Legato's promise to "make Vash the Stampede feel eternal pain and suffering".
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In the final stage of Knives's plan, Legato faces off against Vash in order to prevent Vash from getting to Knives, revealing that the now completed Coin Case functions as a device that blocks Legato's abilities to make their battle more interesting. As Legato and Vash do battle, Legato reveals his past as a sex slave, and how he came to love and swear loyalty to Knives for destroying the city he was trapped in. Legato beats Vash so severely that it activates an automatic defense power in Vash, which severely wounds Legato. Vash destroys the coin case in an attempt to even the battle once again, and the two clash one final time, both of them pushed to the absolute limits of their strength.
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Usually the most prevalent issue with vocal legato is maintaining the "line" across registers.
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Soon, campus meetings were organized, a website was made, and the group engaged in many cultural activities. Meanwhile, the list of email addresses was expanding, as was the group. On 20 December 2000 the LEGATOs maintained contact with each other by creating the Legato Ortakliste (Legato union list) and on 10 January 2001 all the LEGATO offices in Istanbul (more than 60) arranged one big gathering. On 19 January 2002 none of the universities were able to maintain the attendance levels by themselves and intended continuance, so all Istanbul LEGATO branches decided to merge as one unified group.
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NetWorker came to EMC by the acquisition of Legato in October 2003. Legato was founded in 1988 by four individuals who worked together at Sun Microsystems: Jon Kepecs, Bob Lyon, Joe Moran and Russell Sandberg. NetWorker for UNIX was first introduced in 1990.
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NewBay Media. Retrieved 30 March 2015. all of which produce a fluid lead sound. One of the reasons for his renowned emphasis on legato, as opposed to picking, stemmed from a desire to make the sound between picked and legato notes indistinguishable.(29 January 2010).
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Legato first demonstrates his ability to control the bodies of others in a restaurant. When assaulted by a group of slave traders, Legato uses his powers to kill the man by forcing him to tear out his own heart. He then kills the other men that had been with him by making them shoot each other. Legato tells the women that they are free now and warns them to be careful as "humanity will soon come to an end".
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BAIVLIVO / LVSITANAE- CLASSIS LEGATO / NAVALIS. DISCIPLINAE. PERITISSIMO / TVRCARVM. MAV RORV MOVE / QUOS. SAEPE MARI / NNAE QUALIBVS. VIRIDVS.
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MVP was a short-lived collaborative project put together by Mark Varney, brother of Shrapnel Records founder Mike Varney. Mark founded Legato in the 1980s, which served as a jazz-oriented counterpart to the rock stylings of Shrapnel.Monk, Laurie (13 June 2010). "Mark Varney: Legato interview with Laurie Monk".
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Brave New Guitar is the first studio album by jazz guitarist Frank Gambale, released in 1985 through Legato Records.
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He tells Vash that once he has collected all of the coins something will happen. When Vash asks his name and how he knows these things, Legato formally introduces himself and then hints that Knives sent him. Legato later watches the battle between Vash and the first two members of the mercenary group Gung-ho Guns, Monev the Gale and E. G. Mine. Upon defeating Mine, Vash challenges Legato, stating that he intends to reverse their roles of hunter and hunted in Legato's twisted coin game.
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Legato's wounded body is then placed in a coffin that is chained shut except for the head area. He uses his controlling powers on a large ogre creature to serve as his transportation. The creature is killed and Legato forcibly taken back by Elendira following the battle between Vash and Hoppered, and Legato is placed in a new coffin with primitive metal limbs. When Vash and Wolfwood finally reach Knives, Legato uses his abilities to restrain Vash as a prisoner for eight months straight, which greatly weakens him.
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Legato has been listed in Top Ten Emo Anime Characters by My Little Emo, together with Sasuke Uchiha from Naruto and L from Death Note. Listed in #5, he even has surpassed other anime villains like Light Yagami and Zero Kiryu. Twisted Jenius describes him as "An Example of a Classic Anime Villain", saying that > Aesthetically speaking, Legato dresses the part of a proper anime villain, > and has the evil smile to go along with it. In some ways, I would argue that > Legato is more evil than Knives.
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Unlike the Romantic trends of continuous legato, he considered any "metrical first" (i.e. downbeat - implied or actual) to be automatically accented.
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The illusion is more convincing if there is a short time between successive notes (staccato or marcato rather than legato or portamento).
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Leaving the restaurant, Legato realizes that his previous action was an unusual display of emotion on his part, and that Vash's challenge has greatly bothered him. Following the battle between Vash and the third member of the Guns, Dominique the Cyclops, Legato gathers with The Gung- Ho Guns for Knives's reawakening at the place called Jenora Rock, which Vash senses and rushes to. Upon being reawakened, Knives twists Legato's neck in a 180 degree angle and then breaks his limbs when Legato instinctively moves to attack Vash. Elendira later comments that this was also influenced by the fact that Legato had used The Gung-Ho Guns to settle his personal vendetta against Vash, and that it is amazing that Knives should decide Legato's life worth sparing at all.
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Live! is the first live album by guitarist Frank Gambale, released in 1989 by Legato Records and reissued in 2000 by Wombat Records.
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Legato began her career without the support of her family. She credits her success in medical school and after graduation to the mentorship of José Ferrer and M. Irené Ferrer (siblings of Mel Ferrer), whom she met at the Columbia University College of Physicians and Surgeons. M. Irené Ferrer even visited the dean of New York University College of Medicine to arrange for Legato to complete her education there, personally paying her tuition fees. Legato has two children, Christiana and Justin, who have grown up as part of Ferrer's extended family and knew her as "gran".
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Off the knee : Playing with the Uilleann chanter removed from the leg, generally in a legato style. On the knee : Playing the Uilleann chanter resting on the leg, generally producing a choppier, more staccato style. Open Fingering : A fingering style in Uilleann piping suited to legato playing. Overblow : Generally, to cause a reed to jump an octave by increasing the pressure on it.
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Knives, after all, is not human; Legato is > (mostly). It's a little bit understandable that Knives would wish to destroy > the human race; but Legato has chosen to write off his own kind as being > worthless and inferior. He also seems to be more genuinely sadistic than > Knives. He takes a great deal of pleasure in using his power to dispatch > other humans.
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Rather, it sets out to explore the key of E major using two types of contrast: chords vs. arpeggios and scales, and legato vs. staccato. After the opening E major chord, there is an ascending, legato arpeggio, which is met by a fast, downward scale, marked staccato. This pattern is repeated in the dominant, submediant, and finally the subdominant chords.
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In music for Classical string instruments, legato is an articulation that often refers to notes played with a full bow, and played with the shortest silence, often barely perceptible, between notes. The player achieves this through controlled wrist movements of the bowing hand, often masked or enhanced with vibrato. Such a legato style of playing can also be associated with portamento.
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It has vocal samples for male, female and young boys' choirs. It covers the ranges Soprano, Alto, Tenor and Bass and has audio engine effects and outputs. The SATB sections offer Normal, Legato, Staccato, and Slurred articulations, while the young boys choir offers Normal and Legato articulations. It was recorded with 3 microphones, allowing for results that give the impression of the choir being in different positions.
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Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing.
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Legato on guitar is commonly associated with playing more notes within a beat than the stated timing, i.e., playing 5 (a quintuplet) or 7 (a septuplet) notes against a quarter-note instead of the usual even number or triplet. This gives the passage an unusual timing and when played slowly an unusual sound. However, this is less noticeable by ear when played fast, as legato usually is.
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Legato has a similar introduction to the one he is given in the manga, the key difference being that in the anime Legato does not play the game with coins with Vash. Legato uses The Gung-Ho Guns to place Vash in situations where he must either kill or be killed. Vash never ends up killing though, always figuring out a way to survive without finishing anyone off. Vash still gets scarred by Legato's actions, as most of The Gung-ho Guns either get killed for failing to put an end to Vash or commit suicide because they were afraid of being punished by Knives.
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However, being either a member or founder of either of the groups ruined their chances of graduation. After keeping quiet, two years later, with the GayAnkara group being the forefoot of the project, LEGATO found life again. As the first stage, on 28 June 2000, email listings opened to 23 universities (84 as of 2006). LEGATO began to spread out from Ankara to Istanbul, starting at Boğaziçi University.
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The piano plays broken chords in semiquavers for the song's duration in a manner similar to bar five (the bar in which the voice enters), for example: :File:Nacht und traume bar 5.png A typical performance will last around three to four minutes. A version in the Spaun family collection has the different tempo marking "Langsam, Sempre legato" (Slow, Always legato). The original publication erroneously attributed the text to Friedrich Schiller.
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For the final legato the weight of the hand should bear slightly on each semiquaver to produce a kind of portamento with a timbre that will not merge into the upper melodic line. Cortot also introduces an exercise for flexibility of the foot to produce an "uninterrupted quivering" pedal, but advises to practice the finger legato first without pedal.Cortot, p. 44 There are no original pedal marks by Chopin.
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He befriends Meryl Stryfe and Milly Thompson, two agents of the Bernardelli Insurance Society, sent to evaluate claims regarding the dangers he has caused and whether or not his bounty should be canceled. He also meets a priest named Nicholas D. Wolfwood, who fights alongside him. Vash is targeted by Legato Bluesummers from the Gung-ho Guns assassins who are followers of Knives. After Legato confronts Vash, Knives reappears.
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Prior to the beginning of the manga, Legato was a nameless slave. While imprisoned, he slowly developed his power by weaving metal threads into his brain, allowing him to take control of other bodies. Before he could fully develop his power, he was discovered, wounded, and raped. However, Knives happened to pass by and destroy the city, with Legato being the only survivor thanks to the power of his threads.
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XXVIa/2, composed the same year. The theme is chromatic, legato and in two-part inverted counterpoint.Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (), pp.
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The third mazurka, in A-flat major, is marked Legato assai. This piece is one of the longest mazurkas Chopin wrote, lasting about six minutes in a typical performance.
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The first piece in the suite, entitled Prélude, is in the key of F major and marked moderato tempo rubato. Its legato phrases give it a smooth, flowing feel.
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Some effects in the episode were created in Robert Legato's basement with water reflections and Christmas tree lights. The script was vague about what was seen at the end of the universe, so Legato played with the effects of water reflections on his basement wall. Shooting through BoPET film, he created multiple images that were layered over one another for the final effect (which Legato described as "peculiar and bizarre").Nemecek (2003): p.
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These techniques include legato-style bowing (a smooth, connected, sustained sound suitable for melodies), collé, and a variety of bowings which produce shorter notes, including ricochet, sautillé, martelé, spiccato, and staccato.
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Murray began to focus on the space around her forms in the 1990s, gradually eliminating hard-edges.Leffingwell, Edward. "Judith Murray: Vibrato to Legato," in Judith Murray: From Vibrato to Legato, Alanna Heiss, Edward Leffingwell and Richard Kalina, New York: Sundaram Tagore Gallery and Ahmedabad, India: Mapin Publishing, 2006. These more dispersed compositions emphasize texture, atmosphere and a sense of pulsating light through vigorous, feathered gestures that create mosaic-like surfaces (e.g., Madurai, 1994 or Mars, 1997).
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After Knives recovers, Legato's body is crushed and his neck twisted for using the Gung-Ho Guns for his personal agenda. Legato is consequently restricted to a coffin-like container, which is carried by an ogre. Legato later gains a new coffin with metal appendages that allows limited movement. He eventually learns to use his threads to manipulate and strengthen his own body, and takes up a ball and chain weapon and a handgun to battle.
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In classical singing, legato means a string of sustained vowels with minimal interruption from consonants. It is a key characteristic of the bel canto singing style that prevailed among voice teachers and singers during the 18th century and the first four decades of the 19th century. Usually referred to as the line, a good, smooth legato is still necessary for successful classical singers. In Western Classical vocal music, singers generally use it on any phrase without explicit articulation marks.
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She was abducted by the many shinigami who were working for Legato in order to lure Kucabara into going to the demon world. She becomes attached to Sugal after he saves her.
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Retrieved 2015-07-08. This incarnation of the group is a collaboration between guitarists Frank Gambale, Brett Garsed and Shawn Lane.Monk, Laurie (2010-06-13). "Mark Varney: Legato interview with Laurie Monk".
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In music, sostenuto (, ; Italian 'sustained') is usually a very legato style in which the notes are performed in a sustained manner beyond their normal values. It may imply a slowing of tempo.
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The Moving Picture Company, the lead vendor on The Jungle Book, provided the visual effects, which were supervised by Robert Legato, Elliot Newman, and Adam Valdez. The film uses "virtual-reality tools," according to Visual Effects Supervisor Rob Legato. Virtual Production Supervisor Girish Balakrishnan said on his professional website that the filmmakers used motion capture and VR/AR technologies. According to Favreau, MPC worked together with tech firms Magnopus and Unity Technologies to build the film's technology platform using the Unity game engine.
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How to Win Millions Playing Slot Machines...or Lose Trying is a book with a satirical view of slot machines, written by Frank Legato and published in July, 2004 by Bonus Books. This book is a humorous look at slot machines but it does not mean that the author tries to speak about this game and its players as being unintelligent or unthinking. Frank Legato describes the world of slot machines (history, concept, how to play) in a funny and interesting manner.
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A further call is the "ascending type" or the "legato" call, a series of variable notes ending in oo-aw or hoo-aah. At least two other variations on the legato/ascending call are known. 56% of studied owls in Virginia engaged in the ascending type call but 36% uttered only the closing notes. The isolated hoo-aah, sometimes called the "inspection call", was the most common song type in north Florida and the most likely to heard during daylight.
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The party heads for Forte, and on the way (at Mt. Rock), they encounter Crescendo, Serenade and subsequently, Count Waltz. They battle, but Count Waltz completes a potion which turns his partner, Legato into a giant monster. Legato then rips a portal in the air and disappears with Waltz. Realizing that the entire world, not just Baroque is in danger, the party follows them to the city of the dead, Elegy Of The Moon, where souls lost to the mineral powder dwell.
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Harmonic Percussion retriggers only after all notes have been released, so legato passages sound the effect only on the very first note or chord, making Harmonic Percussion uniquely a "single-trigger", or monophonic effect.
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Francisco Frosoni, Pistoriense, s. R. i. comite, archiepiscopo Pisano, insularum Corsicae ac Sardiniae primate et in eis legato nato, habita in ecclesia primatiali Pisana, diebus XXXI. mensis julii et I. augusti, anno salutis M. DCC.XXVI.
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Satriani in 2004 Satriani is considered a highly technical guitarist, and has been referred to as a top guitar virtuoso. Satriani has mastered many performance techniques on electric guitar, including legato, two-handed tapping and arpeggio tapping, volume swells, harmonics and extreme whammy bar effects. During fast passages, Satriani favors a legato technique (achieved primarily through hammer-ons and pull-offs) that yields smooth and flowing runs. He is also adept at other speed-related techniques such as rapid alternate picking and sweep picking.
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Strabo, Pomponius Mela, Pliny the Elder. The islands belonged, under the Roman Empire, to the conventus of Carthago Nova (modern Cartagena), in the province of Hispania Tarraconensis, of which province they formed the fourth district, under the government of a praefectus pro legato. An inscription of the time of Nero mentions the PRAEF. PRAE LEGATO INSULAR. BALIARUM. (Orelli, No. 732, who, with Muratori, reads pro for prae.) They were afterwards made a separate province, called Hispania Balearica, probably in the division of the empire under Constantine.
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Dave Murray is known for his legato technique which, he claims, "evolved naturally. I'd heard Jimi Hendrix using legato when I was growing up, and I liked that style of playing." Stating that he "was inspired by blues rock rather than metal," Adrian Smith was influenced by Johnny Winter and Pat Travers, leading to him becoming a "melodic player." Janick Gers, on the other hand, prefers a more improvised style, largely inspired by Ritchie Blackmore, which he claims is in contrast to Smith's "rhythmic" sound.
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In guitar playing (apart from classical guitar) legato is used interchangeably as a label for both musical articulation and a particular application of technique—playing musical phrases using the left hand to play the notes—using techniques such as glissando, string bending, hammer-ons and pull-offs instead of picking to sound the notes. The fact that the same finger is both setting the string vibrating and setting the pitch leads to smoother transitions between notes than when one hand is used to mark pitch while the other strikes the string. Legato technique to provide legato articulation on electric guitar generally requires playing notes that are close and on the same string, following the first note with others that are played by hammer-ons and pull-offs. Some guitar virtuosos (notably Allan Holdsworth, Shawn Lane and Brett Garsed) developed their legato technique to the extent that they could perform extremely complex passages involving any permutation of notes on a string at extreme tempos, and particularly in the case of Holdsworth, tend to eschew pull-offs entirely for what some feel is a detrimental effect on guitar tone as the string is pulled slightly sideways.
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Vai's playing style utilizes specialized guitar techniques (such as two-handed tapping, alternate picking, legato, hybrid picking, sweep picking, whammy bar acrobatics, and circular vibrato) in his music, as well as a wide range of recording techniques.
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The first section is played poco adagio with a sempre legato e placido indication at the start. There are gentle arpeggios and constant dynamic changes and syncopation, and the melody is often played in thirds or octaves.
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Legato is a technique that requires notes to be bowed in a connected manner with no stoppage of sound between each note. It can be accomplished through détaché, by playing each note on a separate bow smoothly, with no breaks or accents between bow changes. It can also be accomplished by slurring, or playing multiple successive notes in one bow, which is indicated in the music by a slur (curved line) marking above or below – depending on their position on the staff – the notes of the passage that is to be played legato.
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Kucabara then must prove the sinner's innocence before a takes the sinner to hell. One day, Kucabara's friend Funi arrives and tells him the demon world is in dishevel and Kucabara must return to save it. Kucabara, with the aid of his friends, Bichula the dragon demon and a female exorcist named Idamaria, infiltrates the demon world; they discover the source of the chaos to be Kucabara's younger brother, Legato, and set out to confront him. Eventually, they realize Legato was gathering energy to destroy the angels who reign control over Hell.
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This applies when a certain string must sound two notes in the shape due to the natural limits of a fretted string instrument. However, as with all guitar techniques, individual players may integrate sweep picking into existing repertoire and use it in an individually stylistic manner. Therefore, some guitarists use legato techniques and others double-pick multiple notes on a single string. These are separate yet related techniques that produce obvious differences in legato versus struck notes, as well as shift in the timing of the entire arpeggio.
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A conductor, Gerald Wilson, leads a jazz big band Articulation may be indicated by the character of the ictus, ranging from short and sharp for staccato, to long and fluid for legato. Many conductors change the tension of the hands: strained muscles and rigid movements may correspond to marcato, while relaxed hands and soft movements may correspond to legato or espressivo. Phrasing may be indicated by wide overhead arcs or by a smooth hand motion either forwards or side-to-side. A held note is often indicated by a hand held flat with palm up.
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A collaboration in 1990 with fusion guitarist Frank Gambale came about in the form of Truth in Shredding, an ambitious collaborative project put together by Mark Varney (brother of Shrapnel Records founder Mike Varney) through his Legato Records label.Monk, Laurie (13 June 2010). "Mark Varney: Legato interview with Laurie Monk". Truth in Shredding. Retrieved 30 March 2015. In December of that year, following the death of Level 42 guitarist Alan Murphy in 1989, Holdsworth was recruited by the band to play as a guest musician during a series of concerts at London's Hammersmith Odeon.
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Portato (; Italian past participle of portare, "to carry"), also mezzo- staccato, French notes portées , in music denotes a smooth, pulsing articulation and is often notated by adding dots under slur markings. Portato is also known as articulated legato .
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This movement's melody is almost-exclusively in upwards or downwards appoggiatura-like scale fragments interspersed with punctuated, accented dissonances. However, the piece has a short, legato middle section in B-flat minor. A performance lasts about a minute.
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Music critics compared the music to the complex rhythms of Frank Zappa and the atmospheric guitar synth backdrops of ECM albums. The albums contain many legato guitar solos. [Sic] was released in 2005. His wife Sumitra Nanjundan sings on "Indian Girl".
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Nine tornadoes touched down across the US with seven of them striking the Mid- Atlantic in a small outbreak. The strongest event was an F2 tornado that hit Sudley Springs, Centreville, Legato, and Fairfax, Virginia west of Washington D.C., injuring one.
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Centrifugal Funk is the second and final studio album by the Mark Varney Project (MVP), released in 1991 through Legato Records; a remastered edition was reissued in 2004 through Tone Center Records.Taylor, Robert. "Centrifugal Funk - MVP". AllMusic. All Media Network.
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Vash and Wolfwood continue traveling to Knives' base. However, Vash is defeated and restrained by Legato. Wolfwood, revealed as a member of the Gung-ho Guns, rescues Vash. Vash rejoins Wolfwood, who fights with Gung-ho Gun Livio to the death.
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Mark Lasoff is a visual effects artist. He won at the 70th Academy Awards for the film Titanic, he shared his win with Thomas L. Fisher, Michael Kanfer, and Robert Legato. This was in the category of Best Visual Effects.
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Scalloped fingerboards added enhanced microtonality during fast legato runs. Fanned frets intend to provide each string with an optimal playing tension and enhanced musicality. Some guitars have no frets—and others, like the Gittler guitar, have no neck in the traditional sense.
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Balance and Legato consist both from curved forms – none of the lines are straight – which can be seen as a tribute to his teacher Jan Vermeulen, whose adage ‘a straight line is a dead line’ was a guideline for Bloemsma throughout his type design career.
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There are several purposes for vocal exercises, including: # Warming up the voice # Extending the vocal range # "Lining up" the voice horizontally and vertically # Acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to comfortably sing wide intervals, and correcting vocal faults.
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808-809, quoting the chronicle of Saint- Catherine du Mont of Rouen. E. Chéruel, Normanniae nova chronica (Cadomi 1850), p. 29: cui [Philippo III] successit ejusdem filius Philippus, qui coronatus est eodem anno, in festo Epiphaniae, praesente domino Johanne tholet, sedis apostolicae cardinali legato.
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Eloise is a 2016 American thriller film directed by Robert Legato and written by Christopher Borrelli. The film stars Eliza Dushku, Robert Patrick, Chace Crawford, Brandon T. Jackson, Nicole Forester, and P. J. Byrne. The film was released on February 3, 2017, by Vertical Entertainment.
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The key signature reverts to D major. The triplets, now played legato on the violins, are accompanied by passionate figures in the woodwind (gemendo, dolente ed appassionato) and muted chords in the horns. The music fades away and the cellos bring things to a standstill.
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Leslie Ekker (born August 15, 1955) is an American special effects artist who was nominated at the 68th Academy Awards in the category of Best Visual Effects. He was nominated for the film Apollo 13, along with Michael Kanfer, Robert Legato and Matt Sweeney.
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Preparatory exercises consist of addressing two "distinct muscular areas" of the hand by playing two voices with one hand, each voice with a "different intensity in tone". Cortot believes that the "weight of the hand" should lean towards the fingers playing the predominant part while the others "remain limp". He recommends practicing the right-hand part of the first twenty bars (the A section) in three distinct modes of articulation and dynamics simultaneously, the top voice forte and legato, the middle one , and the lowest semiquavers in and staccato. Concerning the legato Cortot states that the intensity of tone is imparted "by pressure and not by attack".
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Much of the Zero Hour material Troy played with a lot of left hand strength. In Zero Hour there’s a lot of tapping and legato bass line in the material. Troy can’t and will not put his arm through those problems again as he still has issues.
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Examples of articulation marks. From left to right: staccato, staccatissimo, martellato, accent, tenuto. Articulation is the way the performer sounds notes. For example, staccato is the shortening of duration compared to the written note value, legato performs the notes in a smoothly joined sequence with no separation.
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"Allan Holdsworth Style Legato Pattern". guitarinternational.com. Retrieved 30 March 2015. He said that he preferred both of these instruments to the guitar, the latter of which was not his first choice of instrument upon receiving one from his father when beginning to play music.Holdsworth, Allan (1992). .
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Truth in Shredding is the first studio album by the Mark Varney Project (MVP), released in 1990 through Legato RecordsTaylor, Robert. "Truth in Shredding - Allan Holdsworth / Frank Gambale / MVP / Mark Varney Project". AllMusic. RhythmOne. Retrieved 9 April 2020. and reissued on November 4, 2003 through Tone Center Records.
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Tarling, p.235 In subsequent centuries, there were a number of gradual changes to the violin and bow. The main effect of these changes was to increase the overall sound and volume of the instrument, to improve the instrument's performance in higher registers, and to enable longer legato phrases.
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Chopin demanded that the chromatic scale be played sempre legato, a direction mentioned seven times throughout the score. This contrasts with the staccato chords played as accompaniment. A copy by Józef Linowski of Chopin's autograph reads cut time (alla breve) for No. 2,Ekier, Jan, ed. (National Edition).
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Starting with Judas Priest's fourth album, Stained Class, Tipton began to dominate the band's songwriting, especially on the more commercial tracks which almost exclusively featured his guitar leads. Following the release of their sixth album, British Steel, most songs in the live set lists were Tipton's. On the whole, his solos feature in almost 60% of Judas Priest's total catalog. In contrast to Downing, Tipton's solos tend to feature a more melodic, legato blues rock sound, making use of harmonic minor scales, Aeolian mode, pentatonic scales, and techniques such as sweep-picking arpeggios, legato picking, tremolo/alternate picking, hammer-ons, and pull-offs; moreover, the solos often showcase both accuracy and aggression.
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In both the manga and the anime, Legato has the ability to use psychic powers to manipulate people. He obtained these powers from Knives who gave Legato Vash's left arm, which was endowed with some of the god-like powers the brothers possess. When he does this, it is usually to make a person or a group of people do something against their will. Examples of this include when he made a group of men from the Roderick Gang kill one another, making an entire population of a town disappear, controlling Chapel the Evergreen to kill Nicholas D. Wolfwood, and cramming a group of soldiers into a tight truck by manipulating their bodies.
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He has been praised by John McLaughlin, Allan Holdsworth, and Shawn Lane for his innovative style and the ease with which he shifts from legato to staccato."Alex Machacek-The Next John McLaughlin" in Rave Magazine Issue 45, Oct 2006 McLaughlin said, "Alex Machacek's music starts where other music ends".
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LGBT singers in other parts of the world created similar organizations, including LEGATO, an association for lesbian and gay choirs and ensembles in Europe established in 1997, and SING OUT! – the Association of Lesbian and Gay Choirs in the UK and Ireland. There are now more than 250 LGBT choruses worldwide.
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His last typeface, FF Legato, is an examination of the traditional notion of diagonal contrast or stress, in this case removing the connection of writing with a broad-nib pen. In effect, Bloemsma made the shapes of the counters almost contradict the outside curves, resulting in more interesting and lively letterforms.
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Piana Giovanni (April 5, 1940 – February 24, 2019)E' morto il filosofo Giovanni Piana. Era legato al territorio meratese was an Italian philosopher. He taught theoretical philosophy at the University of Milan from 1970 to 1999. He was a disciple of Enzo Paci and wrote his dissertation on Husserl's unpublished works.
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A powerful exorcist, he is acquainted with Elimona and obtains information about the demon world through her. His name before dying was Kanto. ;: A proud, apathetic, and analytic shinigami-ranked demon whose attacks are based on mathematical formulas. He hates underlying schemes and would even revolt against Legato for his ethics.
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Besides polyphonic playing, Mono (normal or Legato) mode can be chosen, and a very flexible Unison facility is on board too. Since Unison use 3 notes polyphony for each played note, the Unison mode reduce the polyphony to 4 notes. Internal organisation Patches can be stored in 512 memory locations.
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Similar to the first section of the cantata, the lyrics of “The Lord is My Shepherd, Alleluia” originate from Psalm 23 (KJV). This piece features rhythmic and legato singing. A beautiful blend of Soprano and Tenor voices begin the piece, setting the tone and creating an aura of peace and contentment.
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Uniquely, O'Brien and Cooley imitated the violin or flute style of playing, a slow unaccented smooth performance. It was the introduction of legato playing to the accordion. It was completely divorced from the tradition of Irish accordion playing in the States which took into consideration the mechanics of the instrument.
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Allmusic reviewer Jim Todd called it a "superior hard bop date" stating "Green's sound is distinguished by a finely controlled, soft articulation. It's not the squealing, serpentine legato of Eric Dolphy, but there are similarities. Green's approach allows him to play continuous streams of ideas rippled with the modulations of his subtle tonguing".
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All Media Network. Retrieved 2014-12-24. which remains unique and identifiable to this day; some of his signature traits being fast left-hand legato passages (having been influenced greatly by jazz fusion guitarist Allan Holdsworth),Burk, Greg (2008-07-10). "Record review and artist interview: Greg Howe.". MetalJazz. Retrieved 2012-10-14.
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Somfai, 1993, 178. The piece is in ternary form with a coda. The opening, closing, and coda sections consist of imitations of drums and lower wind instruments—"pipes". A less percussive, legato treatment of the piano is called for in the middle section in the middle and higher register, imitating gentler wind instruments.
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Jones' sense of timing, polyrhythms, dynamics, timbre, and legato phrasing helped bring the drumset to the foreground. In a 1970 profile published in Life Magazine, Albert Goldman dubbed Jones "the world's greatest rhythm drummer",Goldman, Albert (February 6, 1970). "Elvin Jones' Kinesthetic Trip: World's Best Rhythm Drummer". Life. Retrieved March 15, 2020.
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Lieb began his musical career at the age of fourteen, as a bassist, playing in funk and soul bands. However, he often left the bands he played in before they found any real success. Eventually he started exploring electronic music. His first record, under the alias 'Force Legato', was released by ZYX Music.
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Marianne J. Legato, MD, FACP, is an internationally-known academic physician, author, and lecturer and globally recognized expert in gender-specific medicine, the science of how normal human function and the experience of the same disease vary as a function of gender/biological sex. Legato is an expert on the sex-specific aspects of men's and women's health and is the founder and director of the Partnership for Gender-Specific Medicine at Columbia University. In 2008, she established the non-profit Foundation for Gender- Specific Medicine. She has devoted much of her research to the subject of women and heart disease and in 1992 won the American Heart Association's Blakeslee Award for writing the best book on cardiovascular disease written for the lay public.
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Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden.Joan Sutherland, Russell Braddon, Collins, 1962 In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing.. During the 1980s, Sutherland added Anna Bolena, Amalia in I masnadieri, and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983.
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A page from the Capirola Lutebook He was probably from Brescia, and is known to have lived in that city for several periods of his life, although he was in Venice in 1517 and for some time after that, the period during which the illuminated manuscript was prepared. It is possible that Capirola is the famous Brescian lutenist who visited the court of Henry VIII of England, although his name was not recorded (no other virtuoso lutenists of the period, from Brescia, who were also noblemen, are known). The Lutebook contains the earliest known examples of legato and non-legato indications, as well as the earliest known dynamic indications. The pieces vary from simple studies suitable for beginners on the instrument, to immensely demanding virtuoso pieces.
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In addition, monosynth synthesizer patches are often called leads, for their frequent use on melody parts in dance and electronic music. These patches are often legato, meaning filters and modulation are continued across a series of held notes, and portamento can be used to create a pitch bend transition up or down to other notes.
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1500 – c.1830. Without altering their vocal production, performers set staples of the repertoire in completely new guises through a variety of interpretive devices from the bel canto “toolbox”: accent, emphasis, grammatical and rhetorical pauses, cadence, staccato, legato, portamento, tonal contrast, messa di voce, tempo rubato, and ornamentation.Toft, Bel Canto: A Performer’s Guide, p. 4.
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Sherrill Milnes (born January 10, 1935) is an American lyric baritone most famous for his Verdi roles. From 1965 until 1997 he was associated with the Metropolitan Opera. His voice is a high dramatic baritone, combining good legato with an incisive rhythmic style. By 1965 he had made his debut at the Metropolitan Opera.
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His voice was powerful, steady, and rich-toned, with a beautiful mezza voce. He placed a special emphasis on maintaining a smooth, legato line in his singing, with no trace of Sprechgesang. Towards the end of Schorr's career, his extreme top notes became somewhat 'wooden', however, as the result of many years of strenuous usage.
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After being initially influenced especially by Edward Van Halen, David Gilmour and Jeff Beck, he mentions Andy Timmons, Jimi Hendrix, Eric Johnson, Paul Gilbert, Joe Satriani as important influences. His solo-work features lead- guitar techniques such as legato, alternate-picking, sweep-picking and tapping, which he also wrote about in his book and columns.
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Matt Sweeney is a special effects artist who was nominated at the 68th Academy Awards in the category of Best Visual Effects along with Leslie Ekker, Michael Kanfer and Robert Legato. They were nominated for their work on the film Apollo 13. He also has received 3 Technical Achievement Awards at the Academy Awards.
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The orchestral accompaniment consists mainly of reiterated notes for the first verse and of falling chromatic lines for the second verse; the refrain is accompanied by ascending broken chords. The melismatic setting of the lyrics present a particular challenge for the performance of this aria as it requires legato singing over a wide range.
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This is a slow cantabile study for polyphonic and legato playing. Chopin himself believed the melody to be his most beautiful one. It became famous through numerous popular arrangements. Although this étude is sometimes identified by the names "Tristesse" (Sadness) or "Farewell (L'Adieu)", neither is a name given by Chopin, but rather his critics.
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The second part is continuous —the earlier part is a consequent passage. The next area differentiates itself by the continued use of a quieter feel, with chromatic passages executed in slur phrases. By analysis, the second part is smorzando legato. It returns with a series of up and down arpeggios and scales increasing in intensity until the caprice's conclusion.
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"For the Love of God" is an instrumental guitar piece by Steve Vai. It is the seventh song on Vai's 1990 album, Passion and Warfare. The piece runs for six minutes and features a number of techniques including pitch bends, legato, and sweep picking. Vai recorded the track on the fourth day of a ten-day fast.
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Richard Young Cansino (born August 10, 1953) is an American voice actor. He is also known as Richard Hayworth because he is the nephew of Rita Hayworth. Richard voiced Kenshin Himura in the anime adaptation of Rurouni Kenshin. Additionally, Richard is also known for his performances as Izumo Kamizuki from the Naruto series and Legato Bluesummers from Trigun.
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IBM Works is an office suite for the IBM OS/2 operating system. It includes word processing, spreadsheet, database and PIM applications. Originally developed as Legato by IBM UK, it was later taken over by Footprint in Canada, also known as Footprint Works. IBM Works is included in the BonusPak with OS/2 Warp Version 3 (1994).
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He thought the remaining movements were too frivolous and would damage his reputation as a serious composer. Because of its slow tempo and mostly legato performance indications, the movement is suitable for performance on the theremin and has joined Sergei Rachmaninoff's Vocalise and Jules Massenet's Méditation from his opera Thaïs among the classical works central to the theremin repertoire.
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Stringed instruments use different techniques such as bowing, picking, or a technique by plucking the strings with the hand. This technique is called pizzicato. String instruments use these methods to achieve different articulations, varying the speed, pressure, and angle of the bow or pick. Musicians use articulation to create a link between notes, such as legato.
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Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings.
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A Present for the Future is the second studio album by guitarist Frank Gambale, released in 1987 by Legato Records and reissued in 2000 by Wombat Records. The third track, "Stephanie", is renamed "Serenity" on the reissue. Harpist Stephanie Bennett was Gambale's ex-wife and was mentioned in the liner notes of all his albums until Passages (1994).
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This lets the pianist sustain notes which would otherwise be out of reach, for instance in accompanying chords, and accomplish legato passages (smoothly connected notes) which would have no possible fingering otherwise. Depressing the sustain pedal also causes all the strings to vibrate sympathetically with whichever notes are being played, which greatly enriches the piano's tone.
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The track "Soothsayer" (dedicated to Buckethead's late aunt) has become one of his more popular songs, and is frequently played live. "Soothsayer" was voted third best guitar solo of the 2000s by the Ultimate Guitar community. Loudwire described it as "smoothest legato shreds of all- time". VH1 included it 8th on the list of "20 Greatest Heavy Metal Instrumentals".
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Crucis, apostolicae sedis Legato, per fratrem Franciscum Salazar, Ord. Min. Observ. (excudebat Magistcr Bartholomaeus de Bonardo, 1547). Ordinationi publicate nella Sinodo Diocesana di Bologna... il di 16 d'ottobre 1566 (In Bologna, per Giovanni Rossi). Cardinal Gabriele Paleotti (1566–1597) held a diocesan synod on 16 October 1566, another in 1580,and another in 1594.J.-D.
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Each album helped establish Davis's quintet as one of the best. The style of the group was an extension of their experience playing with Davis. He played long, legato, melodic lines, while Coltrane contrasted with energetic solos. Their live repertoire was a mix of bebop, standards from the Great American Songbook and pre-bop eras, and traditional tunes.
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Over the course of the series, Vash interacts and befriends many people across the globe. At odds with Vash and his companions is his twin brother Millions Knives, who hates humans and Vash's way of life. Closely following Knives is Legato Bluesummers, a cold and powerful man and his group of super-powered assassins, the Gung-Ho Guns.
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The are a group of assassins assembled to cause great pain to Vash the Stampede. Each one is human, but has sacrificed their humanity in order to gain power, often leaving them mutilated. Each Gung-Ho Gun has an assigned number, but not all numbers are revealed. In the manga, Legato uses them to play a "game" with Vash.
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Massive technique, clearness and certainty, energy in taking the tones and a wonderfully lovely legato.” Further concerts allowed Eddy to secure the funds necessary to repay the loan which was taken out to enable his European trip. Finally, in the spring of 1874, he returned to the United States after an extensive trip through Holland, Belgium, France, and London.
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The trio is in three movements: 1.Allegro moderato. The trio opens with an ascending theme presented, untypically, by the violin and cello in pizzicato; the effect is reminiscent of a harp. The piano answers with an ornamented legato version of the same theme, before all three instruments burst into a lively bridge section leading toward the dominant.
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As medium dances she sings ritual songs to the 37 National Nats (Spirits) and the Local Nat. At the onset, the dance is delicate and the music legato. After a verbal injunction, the dancer quickens to the rising intensity of the music. As the Medium enjoins the Spirits, the movements and the music reach a frenzied crescendo.
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In Robert Schumann’s 1836 Neue Zeitschrift für Musik article on piano études, the study is classified under the category "speed and lightness" ("Schnelligkeit und Leichtigkeit"). Huneker states "it requires smooth, velvet-tipped fingers and a supple wrist." Chopin's original indication concerning articulation of the right hand is legato. A sempre legatissimo indication is given at bar 33.
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After graduating from medical school in 1962, Legato completed an internship and junior residency at Bellevue Hospital and a senior residency at the Presbyterian Hospital of the City of New York. From 1965 to 1968 she was a visiting fellow in cardiology at the Columbia University College of Physicians and Surgeons and in 1968 she was appointed instructor in medicine, beginning an academic career at Columbia University College of Physicians & Surgeons, where she currently holds the position of Professor of Clinical Medicine. She is a Fellow of the American College of Physicians and a Diplomate of the American Board of Internal Medicine. Since 1969, Legato has been an attending physician at St. Luke's-Roosevelt Hospital Center, and since 1973 at the Presbyterian Hospital in the City of New York.
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She was one of 300 American physicians included in the National Library of Medicine's documentary, Changing the Face of Medicine in 2004. In 2005, she received the National Council on Women's Health Award for distinguished service in gender-specific medicine. In 2006, the Ladies' Home Journal established an annual Marianne J. Legato Award in Gender-Specific Medicine in her honor.
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Huneker (1966), p. 261 James Friskin commented that the nocturne is "one of the simpler nocturnes" and is similar to the Nocturne in G minor, Op. 15, No. 3 in that it "has similar legato chord passages in the contrasting section" though this nocturne "has a more ornamental melodic line". Dubal also agreed that the nocturne is "of lesser importance."Dubal (2004), p.
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Legato is formed by letting the string vibrate without stopping or muting it so the note slurs with the consecutive ones. Staccato is another very common musical articulation found in music. This action is caused by the player plucking, bowing, or picking the note and immediately muting the note so it is shorter than normal. Think of these two as opposites.
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Team Legato participated in the 2000/2001 circumnavigation sailing competition The Race, finishing fifth of the seven teams entered. By 2005, Bullimore had renamed her Daedalus. While Daedalus finished second, of four yachts, in the 2005 Oryx Quest circumnavigation sailing competition, Bullimore set a record during the South Atlantic leg at 11 days 10 hours 22 minutes and 13 seconds.
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During his stay in the orphanage, he grew fond of a young girl named Jupiter and seeks to free her parents from hell. ;: Legato is the primary antagonist of the series and the fourth son of the great demon king, Kucabara's younger brother. After plotting Kucabara's banishment, he received all of Kucabara's power. ;: The newest member of Kucabara and the others.
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This song is reprised later in the story as a counterpoint to another song entitled: "Doll on a Music Box". When the song is sung a second time, in counterpoint, it is then sung by Caractacus. Truly sings the counterpoint as an expression of her own, "real life" emotional detachment. The counterpoint is staccato whereas "Truly Scrumptious" has a legato melody.
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The ending part of the piece is marked religioso and uses legato chords in the right hand part. The piece also has extreme dynamic contrasts, ranging from fortissimo to pianissimo (see Dynamics). The piece departs from the usual ternary form in a Chopin nocturne. The concluding section is not only unrelated thematically to the opening one but in a different key (F major).
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Previous versions of Waves and Rhode Island Shred appeared on the compilation Guitar on the Edge, Vol 1. no.4 (Legato Records, 1993). A version of his Guitarist of the Year winning piece, Wonderful Slippery Thing appears on the album. While this is his first album, Govan had been collaborating with drummer Pete Riley on the music since the mid-1990s.
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Paul Victor (born September 8, 1965 in Castries, St. Lucia) is an American guitarist, singer and songwriter. Victor has described his style as a mix of fusion, soul, rock, and blues, using amount a lot of sweeping and legato in his playing. His main influences are Al Di Meola, Jimi Hendrix, Tony MacAlpine, J. J. Cale, Yngwie Malmsteen and Paul Gilbert.
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In the manga, Legato is also said to have the power to control threads, which are invisible barriers that can control things as well. The biggest example of when he used this was with his first encounter with Knives as a child. He used this power to survive Knives' attack and impressed the killer to allow him to be his right-hand man.
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The Queer Studies course she launched at Charles University focuses on a critical analysis of how sexuality is used as a means of social control. She has been involved in the state television program for the LGBT community, known as Queer (formerly called LeGaTo) since it began airing in 2004 and participates in community activism on both a cultural and political level.
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The DEC 7000 AXP and DEC 10000 AXP supported two types of memory module, the MS7AA and the MS7BB, which differ in function. The MS7AA provided dynamic random access memory (DRAM) for implementing the main memory, whereas the MS7BB provided a non-volatile cache for accelerating Network File System (NFS) performance when used in conjunction with Prestoserve software from Legato Systems.
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In 1940 he went to Kansas City and became trumpeter for the Jay McShann band, which included Charlie Parker on alto saxophone, Ben Webster on tenor saxophone, bassist Gene Ramey, drummer Gus Johnson and blues shouter Walter Brown.[ Scott Yanow at allmusic] Ross Russell described Anderson's style as a trumpeter, during his tenure with McShann, as having "smooth tone and legato phrasing" influenced by previous work with Charlie Christian, in Oklahoma City. Russell considered Anderson "the most advanced musician in the band after [Charlie] Parker," and described him as an innovator: "the first to play in the new, linear, semi-legato, light-toned style later made popular by Fats Navarro and Dizzy Gillespie." Later Anderson was co-leader, with Charlie Parker, of a small band that worked for several weeks at Tootie's Mayfair in Kansas City.
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Legato has been an invited speaker at lectures and conferences throughout the United States and around the world. She has been featured on the national ABC program 20/20 in a segment dealing with gender prejudice in women's health care and has made multiple appearances on local and national television and radio programs, including NBC's Good Morning America, Good Day New York, the Joan Hamburg Show, The Today Show, Lifetime TV, Iyanla Show, The Larry King Show and The Oprah Winfrey Show. Marianne Legato has been an invited speaker at hundreds of lectures and conferences throughout the world for over a decade. Most recently, she was the president of the First International Congress on Gender- Specific Medicine in Berlin, Germany (February 2006) and is the honorary president of the next two International Congresses on Gender-Specific Medicine in Vienna (2007) and Stockholm (2008).
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There she was co- chair of the Task Force convened to set the research agenda on women's health for the 21st century. In 1992, Legato won the American Heart Association's Blakeslee Award for the best book written for the lay public on cardiovascular disease with her publication of The Female Heart: The Truth About Women and Heart Disease, published by Simon & Schuster. Her film, Shattering the Myths: Women and Heart Disease won a “Freddy”, a first prize in the category of Women's Health at The 1995 International Health and Medical Film Festival. She was named an "American Health Hero" by American Health for Women in 1997 and received the Women's Medical Society of New York's annual Woman in Science Award in 1997. In the Fall of 2000, Ladies Home Journal honored Legato as a “Heroine of Women’s Health”.
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Later, specifically in the A major section, there are some crescendos and diminuendos marked in the piano part. The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody. This movement of Liederkreis has several applied chords, such as V/V. Almost exclusively, these applied chords do not resolve to the expected chord.
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This became her first instrument from about 1928,Yet to be published (as at 2015) interview with musicologist and harpsichordist, Jon Baxendale when she began studies with the composer Franz Schmidt and the organist Franz Schütz. In 1931, she was heard by the organist and composer Charles-Marie Widor. After criticising her pedal technique, which he thought not legato enough, Widor invited her to become a student.
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Collaborating with effects supervisor Rob Legato, Wright worked on Titanic. The film garnered eleven Academy Awards, including the Oscar for Best Visual Effects. Wright was promoted to visual effects producer and helped land Digital Domain's next landmark project, What Dreams May Come, which also earned the Academy Award for Best Visual Effects. After producing the VFX for several other projects, he joined Dream Quest Images.
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The theme is now played legato by the horns, accompanied by a sustained pedal point in the bassoons. The violins simultaneously play an elaborated version of the theme. (See also heterophony.) The timpani and pizzicato lower strings add further colour to this variegated palette of sounds. “Considering that the notes are virtually the same the difference in effect is extraordinary”:Fiske, R. (1970, p.
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By way of compensation, however, he was blessed with an exceedingly beautiful high baritone voice and an impeccable legato style of singing to go with it. Indeed, Schlusnus' polished bel canto technique, coupled with the prudent management of his vocal resources, enabled him to enjoy an unusually long career. He died in Frankfurt, not long after retiring from the stage, at the age of 63.
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The harmonisation is unusual – every chord in the melody is 'held back' by a B-flat and C, while the bass (playing in the treble) jumps about almost arbitrarily, increasing the harmonic tension. Pauses in the melody are greeted by staccato 'growling' in the deep bass. ;Variation IV Marked con duolo ("with grief"). The melody is simplified to two-in-a-bar chords marked dolce e legato.
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Melodies which move by a leap are called "disjunct". Octave leaps are not uncommon in florid vocal music. ; lebhaft (Ger.) : Briskly, lively ; legato : Joined (i.e. smoothly, in a connected manner) (see also articulation) ; leggiadro : Pretty, graceful ; leggierissimo : Very light and delicate ; leggiero or leggiermente : Light or lightly (the different forms of this word, including leggierezza, "lightness", are spelled without the i in modern Italian, i.e.
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The Piano Sonata in E-flat major, Hob. XVI/49, L.59, was written in 1789/90 by Joseph Haydn. It marked the beginning of Haydn's late, mature style with frequent use of alternation between staccato (mostly) and legato (often/sometimes). The transitions were much smoother compared to his early and middle works, with larger first and second movements, and a smaller third movement.
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Marsh and Kirkland, p. 65 Afterwards, digital water and smoke were added, as were extras captured on a motion capture stage. Visual effects supervisor Rob Legato scanned the faces of many actors, including himself and his children, for the digital extras and stuntmen. There was also a model of the ship's stern that could break in two repeatedly, the only miniature to be used in water.
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Vash breaks his pacifist vow by killing Legato to protect Livio from the last Gung-ho Guns. Knives also starts losing the powers he stored with the Ark through Vash's actions. Vash then saves his brother from the vengeful ships from Earth. Following his defeat, Knives uses his last powers to help his weakened brother by creating a small fruit tree to feed him.
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In the ensuing firefight, Knives shoots off Vash's left arm which activates his White Angel Arm, resulting in July's destruction. Throughout the series, Vash feels pressure to avoid killing his enemies. As the two interact, Wolfwood decides to be a pacifist like Vash, but is killed by one of Knives' men. Bringing Vash further grief is Legato who controls the civilians targeting Meryl and Milly.
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This forces Vash to kill Legato in order to save his friends. Despite being initially shocked by the idea of committing a sin, Vash find peace when Meryl says any person can find redemption regardless of action. Vash faces and defeats Knives whose fate is ambiguous. Vash then decides to adopt a new way of life, discarding the red coat that marked Rem's influences over him.
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Michael Kennedy and Joyce Bourne, "Staccato", The Concise Oxford Dictionary of Music (Oxford and New York: Oxford University Press, 1996). There is an intermediate articulation called either mezzo staccato or non legato. By default, in the music notation program Sibelius, "staccatos shorten a note by 50%."Daniel Spreadbury, Michael Eastwood, Ben Finn, and Jonathan Finn, "Sibelius 5 Reference", edition 5.2 (March 2008), p. 284.
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Fiddle playing generally avoids vibrato except for occasional slow tempo pieces and even then uses less vibrato. Shorter bow strokes are also consistent with the fiddle players' tendency to use less legato and more detache bow strokes. Some, but not all, styles use double stops and open tunings. Trick fiddling is employed, often built upon cross bowing technique such as used in Orange Blossom Special or Beaumont Rag.
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"Doll on a Music Box" is a song originally from the 1968 musical film, Chitty Chitty Bang Bang. It was subsequently performed in the 2002/2005 stage musical Chitty Chitty Bang Bang as well. It is both a musical and lyrical counterpoint to the more free flowing, legato song, "Truly Scrumptious". In the song, Truly is disguised as a wind up music box doll, metaphorically and actually on a pedestal.
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Guido Cervo (born 1952) is an Italian writer. He debuted as novelist in 2002 with Il legato romano, set in the Roman Gaul during the 3rd century. This was followed by La legione invincibile and L'onore di Roma, both featuring the same characters, including historical ones. Also set in the Roman Empire age are Il centurione di Augusto, Il segno di Attila, Le mura di Adrianopoli, and L'aquila sul Nilo.
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The impact causes the string to vibrate enough to sound the note, and the volume can be controlled by varying the force of impact. Jordan taps with both hands, and more legato than is normally associated with guitar tapping. His technique allows the guitarist to play melody and chords simultaneously. It is also possible, as he has demonstrated, to play simultaneously on two different guitars, as well as guitar and piano.
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Musically, it combines a woodwind section and strings, both played in blocked chords. The song is played at a moderate tempo in the key of G major. The Em-C chord progression lasts throughout the duration of the piece. The song's introduction consists of Ralph Wash's acoustic guitar playing chords on the upper registers of the instrument, with James Trumbo playing the legato melody on piano in 12/8 time.
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Starker's playing style was intense and involved great technical mastery. According to some of his students, his technique revolved around long, legato notes, with very little shifting noise from his left hand, resulting in smooth, pure tones, "each note sounding like a jewel." Starker himself described his sound as "centered" and "focused." He was known for his ability to produce an extremely wide range of sounds and tone shading.
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During the summer of 1871, Sherwood took five weeks of piano lessons with the American composer and pianist, William Mason. Recognizing Sherwood's talent, Mason encouraged him to study piano in Europe. Sherwood first traveled to Berlin, Germany with his father, where he began piano studies with Theodor Kullak. Kullak criticized the limitations of Sherwood's small hands and expressed concern that he would not do great legato octave work.
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The third movement is in a rondo form. The A section begins with a cheery theme by the solo violin and crisp accompaniment underneath it. After a theme played as a double-stops by the solo violin, the B section begins in measure 35 with light solo violin and accompaniment. This soon turns to a series of scales in legato which brings in another rhythmic melody by the solo violin.
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He combines fast picking and legato techniques in the same phrase, usually instinctively. When teaching/demonstrating a particular phrase, he has to think about what he is actually doing with his right hand in order to explain it. Despite being famous for his heavy metal work and his rapid right hand ability, Gilbert has since dissociated himself from that style of playing, instead gravitating towards blues and melodic ideas.
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Some large carillon systems for playing church bells include a pedalboard for the lowest-pitched bells. Carillon pedal keys activate a pull-down coupler that visibly moves the keys of the manual clavier and heavy clappers for the largest bells. These keys resemble the "button keys" of early organs, and are played by the player's toes. Because this non-legato technique involves no sliding, shoes with leather soles are not required.
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His phrasing almost always featured striking yet subtle transitions between notes that often work contrary to the listener's expectations of consonance and dissonance, with wide and unpredictable intervallic leaps. In his solos he extensively used various fast legato techniques such as slides, hammer-ons and pull-offs (the latter being a personalised method more akin to a 'reversed' hammer-on);Mulhern, Tom (December 1982). "A Style Apart". Guitar Player.
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A sonata for two violins by the Baroque composer Telemann. A relatively typical baroque violin composition, it would probably have been performed with less use of vibrato originally. Mischa Elman playing the Meditation from Massenet's opera Thais, recorded in 1919. The very legato style of playing, with lavish use of portamento, rubato and vibrato and the higher registers of the instrument is typical of violin playing in the late Romantic period.
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Wolfwood's purpose is to raise money for the children in the orphanage he runs, trying to keep other children from suffering as he did in his own childhood. He initially holds the ideals that he must kill, though he eventually comes to accept Vash's ideals. He eventually fights his master, but spares him after defeating him. Legato Bluesummers controls Chapel and forces him to shoot Wolfwood, who stumbles into a church.
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Fugue subject The fugue is unusually void of the commonly used fugal devices, such as augmentation, diminution, inversion, pedal point or stretti. The cheerful subject is characterised by ascending 6ths in light quavers. One of the countersubjects is constructed with running legato semiquavers, whilst the other consists of longer note values. The fugue has an extensive sequential episode which develops through related keys before the reappearance of the three voices.
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In music, cantabile , an Italian word, means literally "singable" or "songlike". In instrumental music, it is a particular style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with "cantando" (singing) and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment (compare counterpoint).
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Steckler was investigated by the US Securities and Exchange Commission for six years in an "accounting scandal", which he eventually settled for $35,000.Litigation Release No. 19385 / September 21, 2005 sec.org When working for Logicon he was responsible for a $7million order with Legato Systems, "that was cancelled yet found its way onto the books". Steckler joined Symantec in 2000, rising to vice president of Japan and Asia Pacific.
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Trace Bundy is an acoustic guitar player who lives and performs in Boulder, Colorado. He is known to fans as "The Acoustic Ninja" for his legato and finger tapping skills. Bundy's guitar playing style is percussive and harmonic: he plays with both hands on the fretboard, intricate finger picking arpeggios and inventive use of multiple capos. He was showcased and eventually discovered on websites such as YouTube and Facebook.
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This simulates an effect of a string being plucked; however, any sound created in Harmor can be emulated in that fashion. The Global Controls section of Harmor's GUI controls a variety of effects more related to the performance of notes rather than the timbre of the sound. Articulation of notes is strongly effected by the legato and strum controls. The only timbre controls within the Global Controls is the A/B switch.
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The idea of bringing together homosexual university students began in 1996. Soon afterwards it was called LEGATO. In 1997, the group, inspired by METU, opened another office in Hacettepe University. In LEGATO's early years, they took part in many LGBT-related activities, such as opening stands in spring festivals, arranging weekly meetings, broadcasting movies, putting up posters, etc.. Thus, many university students were gradually becoming more aware of their own university's gay community.
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201 Once he commented on the lengths Henselt took to achieve his famous legato, saying, "I could have had velvet paws like that if I had wanted to." Henselt's influence on the next generation of Russian pianists was immense. Henselt's playing and teaching greatly influenced the Russian school of music, developing from seeds planted by John Field. Sergei Rachmaninoff held him in very great esteem, and considered him one of his most important influences.
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In April 2014, it was reported that Crawford had landed the lead role of Jacob Martin in the psychological thriller film Eloise, directed by Robert Legato and written by Chris Borrelli. The film is about four friends who break into an asylum so Jacob could get an inheritance of the death certificate. Once inside the asylum, they discover the truth about their tragic past. It also stars Eliza Dushku, Brandon T. Jackson, and PJ Byrne.
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The simplicity of the melody makes this piece that much more difficult to sing as it requires perfect legato and breath control. Any inconsistencies in the sound can disrupt the 'peace' of the poem. Schubert sets tender and gentle themes to Rückert's words, and the simplicity of the piano line further enhances the meaning of the song. The progression of the harmonies repeat with the bar form, always establishing the key of the piece.
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It is most commonly played with a piano or concert/military band but has also been performed with orchestra or brass band. Although the exact date is disputed due to some naming questions, Pryor probably composed the piece around 1899. This version is technically challenging and allows the soloist to show off a flowing legato while, in different places, requiring some difficult jumps. The sheer speed and volume of notes also pose a significant challenge.
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Wijewardena composed a song Ma langin that was in the 1960s "Twist" style and released the song in "Ugayen ugayata" cassette in 1989. For "Dineka me nadee thira" he used mute guitar technique for the introduction. Some of the guitar techniques Clarence used in his songs are alternate picking, Chicken picking, Carter Family picking, Cross picking, Flat picking, Golpe, Hammer-on, legato, Pick tapping, Pinch harmonic, Pull-off, Slide guitar, Sweep picking and tap harmonic.
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The third section is entitle The Dream and is scored in 4/4 time in the key of C Major marked Andante Sostenuto. It embodies a recapitulation of the main theme which is marker Molto Legato. The recapitulation is accompanied by a key change back to F major. It concludes with the theme expressed dominantly in octaves and a recapitulation leading to the key of C Major which is marked Allegretti Scherzando.
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The thematic motif soon descends into the bass voice where it heralds an arpeggio in the treble voice. Development of the theme now transpires in 4/4 time. Chromatic key changes from the key of C major through G minor into D minor lead back into the key of C major and a return to 2/4 time. The theme is recapitulated in G major and developed as a scherzo marked Legato e dulce.
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Articulation between phrases is also determined by the venue. For performance of Carillon de Westminster at Notre Dame, breath between phrases would have to be longer in order to remain clear than in a smaller setting. The French-Romantic tradition emphasizes legato playing. The right-hand is split into one-bar phrases but it is not clear whether this was intended by Vierne (his manuscripts are notoriously difficult to read due to his sight).
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Instructors often pushed their pupils to their limits, as they recognized that pure legato was essential in perfecting the chant.Henderson, Early History of Singing, 18. The employment of professional singers in the church played a prominent role in the development of the simple plain chant. The singers had mastered a style united with a technical finish of elegance and began to flourish their singing with ornamentation which had existed during classical times.
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He was renowned for his exquisite legato singing as well as for his crisp diction, limpid tone, precise intonation, and virtuosic mastery of ornaments and fioriture. While not huge, his voice was of penetrating character, making a consistently positive impression in such large theatres as the Metropolitan Opera in New York City. It always moved with exemplary suppleness, allowing him to execute flawless trills and rapid scale passages with remarkable precision and suavity.
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Ormandy was a quick learner of scores, often conducting from memory and without a baton. He demonstrated a formal and reserved podium manner in the style of his idol and friend, Arturo Toscanini. One orchestra musician complimented him by saying: "He doesn't try to conduct every note as some conductors do." Under Ormandy's direction the Philadelphia Orchestra continued the lush, legato style originated by Stokowski and for which the orchestra was well known.
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Frederica von Stade sang "tastefully but wanly", and was unable to make Idamante as imposing as he should have been. Hildegard Behrens's glowing persona was spoiled by her "inability to sing a smooth legato line" and a tone that was "unduly raucous". Luciano Pavarotti's performance was conscientious, but compromised by clumsy phrasing, breathy whispering, difficulty with ornamentation and heavy reliance on the prompter. Only in a few loud, high notes was he at his best.
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Nico's vocal style on Camera Obscura is somewhat different from her prior records, with some songs bearing similarities to Dead Can Dance's Lisa Gerrard. The jazz standard "My Funny Valentine", by contrast, has a more standard legato vocal style, despite her very deep contralto. Many of the tracks offer a refined version of the new wave gothic rock of her previous album Drama of Exile. The album is dedicated to her then-manager, Alan Wise.
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As with stringed instruments, finger substitution is used for a variety of reasons on piano passages. The technique is often used to create a connected, flowing legato phrasing, or smooth out sequence of consecutive thirds. For complex passages, finger substitution is sometimes used to make a fingering pattern more consistent and easy to remember. To change fingers on a key, the shorter finger is usually moved under the longer one in a quick motion.
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It was because of this unfamiliarity with the guitar, combined with attempting to make it sound more like a saxophone, that he originally began to use legato without realising that it was not a common method of playing at the time. Furthermore, he was influenced greatly by such saxophonists as John Coltrane, Cannonball Adderley, Michael Brecker and Charlie Parker,Morrison, Mike (9 February 2006). "Allan Holdsworth Interview" . therealallanholdsworth.com. Retrieved 30 March 2015.
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Two of the films, The Reawakening, directed by two-time Academy Award winner Rob Legato, and Execution Style, directed by Lexi Alexander, have been released. In 2013, Caldwell wrote and directed his debut feature film, Layover. Made for $6,000, the film was shot on a Canon 5D and stars Nathalie Fay, Karl E. Landler, Bella Dayne and Hal Ozsan. The film is almost entirely French language although Caldwell does not speak French.
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However, since Yepes studied under teachers who were not guitarists, they pushed him to expand on the traditional technique. According to Yepes, Asencio "was a pianist who loathed the guitar because a guitarist couldn't play scales very fast and very legato, as on a piano or a violin. 'If you can't play like that,' he told me, 'you must take up another instrument.'" Through practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar.
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It is noted by a slur (curved line) above or below – depending on their position on the staff – the notes of the passage that is to be played legato. Sul ponticello ("on the bridge") refers to bowing closer to the bridge, while sul tasto ("on the fingerboard") calls for bowing nearer the end of the fingerboard. Sul tasto produces a more flute-like sound, with more emphasis on the fundamental frequency of the note, and softened overtones.
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This allows for fluid incorporation of legato-based notes such as hammer-ons and/or pull-offs in the middle of picked phrases. The technique has many advantages and some disadvantages, largely depending on the licks the guitarist is attempting to play. For example, during fast passages, alternate picking is necessary in keeping the picking arm from tiring out. At very high tempos, alternate picking is essentially required, since techniques like downpicking are made not feasible.
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She attended conferences and agreed to teach other instructors, free of charge, the Legato-Luazes Method, which was a pedagogical program for reading and writing, developed by . She also was in favor of the Republican decree which forbade teaching religious doctrine in primary and normal schools. In 1924, she was honored for her efforts to improve education by the First Feminist and Education Congress. In 1908, de Sousa created the first revolving school library on the island.
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It remains an important and popular string instrument in classical Carnatic music. As a fretted, plucked lute, the veena can produce pitches in a full three-octave range. The long, hollow neck design of these Indian instruments allow portamento effects and legato ornaments found in Indian ragas. It has been a popular instrument in Indian classical music, and one revered in the Indian culture by its inclusion in the iconography of Saraswati, the Hindu goddess of arts and learning.
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In a third repeat, all voices sing the first version in unison, then they perform in homophony the second version and the alleluia. In a middle section, the second part of the biblical text is sung three times, marked three times dolce e legato. The soprano, the alto, finally the men sing "with understanding also", culminating in a four-part lively alleluia. In a reprise section, the first line is repeated by all voices, with imitation of motifs.
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His second vocalise, an ascending glissando followed by a descent from scale degree five to scale degree one in major, isolates the release of breath (as in Bernoulli's Principle) as the primary force of tone generation. His third vocalise is a legato ascending and descending arpeggiation of a major triad, utilizing the same phonemes as the first vocalise. His fourth vocalise trains the balanced onset of phonation through the performance of a sequence of detached tones on .
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In his research he concluded that single note samples were not sufficient to create a convincing musical performance. He realized that note transitions (e.g., legato) and multiple note repetitions were also needed. Tucmandl tested his concept with his own cello and managed to convince an investor to fund the new enterprise. Vienna Symphonic Library - Silent Stage (2004) As the first step, the company designed and built a custom recording facility, called “Silent Stage”, for recording orchestral samples.
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Copious pedal point notes and phrase markings are present in the second theme, but the entire étude lacks any pedal indications. Similar to the Op. 10, No. 4 étude, Chopin emphasizes legato playing through the phrasing and (lack of) pedal marking. Throughout the entire work, Chopin marks only five dynamic markings; the entire first theme is to be played forte to fortissimo, and the whole second theme is piano.Palmer, W: Chopin Etudes for the Piano, page 108.
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According to David Boyden and Peter Walls in The New Grove Dictionary of Music and Musicians, the terms spiccato and staccato were regarded as equivalent before the mid-18th century. They cite, for example, Sébastien de Brossard's Dictionnaire de musique, 1703, and Michel Corrette's L'École d'Orphée, 1738. Spiccato meant, they write, "simply detached or separated as opposed to legato." The distinctive use of the term spiccato for the bouncing bowstroke emerged in the later 18th century.
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His career has been centered on the Italian repertoire, starting with lyric roles, but now focused on the great Verdi baritone roles. A review of his 2009 performances of Rigoletto with English National Opera noted his ability to be both "gloriously lyrical and terrifyingly baleful at the same time", combining beautiful Italianate legato with "monstrous power".Richard Morrison, "Rigoletto at the London Coliseum", The Times (London), 23 September 2009 Retrieved from timesonline.co.uk on 23 November 2009.
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During the 1890s, the directors of the Bayreuth Festival initiated a particularly forceful style of Wagnerian singing that was totally at odds with the Italian ideals of bel canto. Called "Sprechgesang" by its proponents (and dubbed the "Bayreuth bark" by some opponents), the new Wagnerian style prioritized articulation of the individual words of the composer's libretti over legato delivery. This text-based, anti-legato approach to vocalism spread across the German-speaking parts of Europe prior to World War I. As a result of these many factors, the concept of bel canto became shrouded in mystique and confused by a plethora of individual notions and interpretations. To complicate matters further, German musicology in the early 20th century invented its own historical application for "bel canto", using the term to denote the simple lyricism that came to the fore in Venetian opera and the Roman cantata during the 1630s and '40s (the era of composers Antonio Cesti, Giacomo Carissimi and Luigi Rossi) as a reaction against the earlier, text- dominated stile rappresentativo.
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Aristodemo Giorgini (1879 – 19 January 1937) was an Italian opera singer who sang leading lyric tenor roles on the stages of Europe and North America during his 25-year career. He made numerous recordings in the early 20th century and was described by Gramophone Magazine as possessing "a sweet, steady, well-placed voice and a style distinguished by the purity of its legato." After his retirement from the stage in 1930, he taught singing in Naples, the city of his birth.
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He also taught at the Yehudi Menuhin School. His dicta included that a pianist must pedal not with the foot but with the ear; and must be able to make a crescendo without hurrying, and a diminuendo without slowing. His art is characterized by shimmering tonal colours and a singing legato combined with an effortless ease of interpretation. Those who heard him live say that his playing was characterized by an enchantingly subtle tone that recordings fail to capture fully.
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In his introduction, Vaccai notes that only the voice of a master demonstrating his exercises accurately can instruct a student in the correct techniques of true legato singing. The book is also an important source of information about the performance of early 19th-century opera. Voice teacher Elio Battaglia edited a new teacher’s edition of the "Metodo practico" or “Practical Method of Italian Singing” which was published by Ricordi in 1990 and which was accompanied by a CD of examples.
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If necessary, files are fetched off of secondary storage media and then passed back to the calling applications. Otherwise, if no processing is necessary, the filter driver does nothing and simply passes the request through the stack of lower level drivers. Other applications that implement similar architecture in terms of file system filters include anti-virus and file system replication software. In 2003, DiskXtender was one of the three information lifecycle management offerings from EMC after EMC acquired Legato System.
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They were particularly short and light, and well-suited for dance music. Italian music of the first half of the 18th century, for instance the work of Arcangelo Corelli, was played with a longer bow better suited to long, singing notes. It was in response to this continued desire for longer, more legato playing that the inward curve was introduced in the mid 18th-century, and the modern bow derives from designs made by François Tourte in the later 18th century.Tarling, p.
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Hammer-on is a stringed instrument playing technique performed (especially on fretted string instruments such as guitar) by sharply bringing a fretting- hand finger down on the fingerboard behind a fret, causing a note to sound. This technique is the opposite of the pull-off. Traditionally, this technique is supplemental to conventional picking, being used to achieve legato and ornamentation effects. This is connected to the fact that hammering imparts less energy to a string, so that hammered notes are less audible.
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Kotzen has described his style as a mix of rock, blues, heavy metal, jazz, fusion, and soul music. Kotzen utilizes a heavy amount of legato and sweeping in his playing. As his main influences, he lists Jimi Hendrix, Stevie Ray Vaughan, Eddie Van Halen, Jason Becker (who produced his first album), Allan Holdsworth, and many other jazz and fusion players. Kotzen, since around 2007, has opted to stop using guitar picks and been playing exclusively with his fingers ever since.
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Garsed is mainly an improviser guitarist, renowned for his legato and hybrid picking technique, a combination that provides him with an extremely fluid sound to his playing. He has also mastered a distinctive slide guitar sound, specially noticeable in his latest releases. Rather than relying on scale patterns and figures, he plays with a relative pitch approach, which allows him to play the melodies in his mind. A fundamental component of his music is the use of wide intervals and chromatic passing tones.
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Nikolai Lopatnikoff (born Russian, Николай Львович Лопатников/Nikolai Lwowitsch Lopatnikow; 16 March 1903 in Tallinn - 7 October 1976 in Pittsburgh, Pennsylvania) was a Russian-American composer, music teacher and university lecturer. He composed some works of the neoclassical music. These pieces featured fast, furious Allegro molto that included in some cases snare drumming and also soft music for cello. These style alternate fast and furious with quiet and solemn, legato strings giving way to a quiet passage that ends with a loud drum.
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Retrieved September 2009. Clint Black's album Nothin' but the Taillights includes the song "Ode to Chet", which includes the lyrics "'Cause I can win her over like Romeo did Juliet, if I can only show her I can almost pick that legato lick like Chet" and "It'll take more than Mel Bay 1, 2, & 3 if I'm ever gonna play like CGP." Atkins played guitar on the track. At the end of the song, Black and Atkins had a brief conversation.
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As a composer of classical piano sonatas, Clementi was among the first to create keyboard works expressly for the capabilities of the piano. He has been called "Father of the Piano". Of Clementi's playing in his youth, Moscheles wrote that it was "marked by a most beautiful legato, a supple touch in lively passages, and a most unfailing technique." Domenico Scarlatti may be said to have closed the old and Clementi to have founded the newer school of technique on the piano.
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The Pastoral pipes were bellows blown and played in either a seated or standing position. The conical bored chanter was played "open", that is, legato, unlike the uilleann pipes, which can also be played "closed", that is, staccato. The early Pastoral pipes had two drones, and later examples had one (or rarely, two) regulator(s). The Pastoral and later flat set Union pipes developed with ideas on the instrument being traded back-and-forth between Ireland, Scotland and England,H. Cheape.
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When a valve is engaged, each cylinder redirects the air stream 90 degrees in one bend, lessening the resistance felt by the player. This type of valve is one of the many contributing factors to the liquid legato that is one of the trademarks of the Viennese school. However, the indirect linkage between the fingers and the valves can make the action slower and therefore make quick technical passages more difficult for the player.Barry Tuckwell, Horn, Macdonald, 1983, p. 50.
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It was continuously used by only two cohorts Vindelicorum Cumidavensis (cohors VI and cohors VI Nova).Dumitru Protase, Istoria Romanilor: Daco-Romani, Romanici, Algeni, Academia Romana, Sectia de Stiinte Istorice si Arheologie, Editura Enciclopedica, 2001, An inscription from 3rd century AD dedicated to Iulia Mamea was found here: :Iuliae Mameae augustae matri Domini nostri sanctissimi Imperatoris Caesaris Severi Alexandi augusti et castrorum senatusque cohors Vindelicorum Piae fidelis Cumidavensis Alexandrianae ex quaestura sua dedicante la sdio Dominatio legato augusti III Daciarum.
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With the modern piano, a player can avoid having to learn finger substitution on a sounding note by using the sustain pedal to prolong the note while the hand lifts and prepares for a new chord or melody note. While the sustain pedal can replace finger substitution and create a legato sound, piano teachers tend to frown on this use of the sustain pedal because it prevents the player from using the sustain pedal to control the tone and dynamics of the instrument.
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The Beatles in 1965 "Eleanor Rigby" does not have a standard pop backing. None of the Beatles played instruments on it, though Lennon and Harrison did contribute harmony vocals. Like the earlier song "Yesterday", "Eleanor Rigby" employs a classical string ensemble—in this case an octet of studio musicians, comprising four violins, two violas, and two cellos, all performing a score composed by producer George Martin. Whereas "Yesterday" is played legato, "Eleanor Rigby" is played mainly in staccato chords with melodic embellishments.
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All this together makes up the main tune. :The secondary themes all have basically the same elements: the left hand playing legato arpeggiations of chords, while the right hand plays staccato chordal melodies, interspersed with multiple grace notes. :The movement includes the conventional repeat of its exposition section, comprising three out of the total of 8 pages in the movement. There are also a few very long rests in the movement, a couple of which last up to two full measures.
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John Longmuir is a Scottish-born Australian tenor. Known primarily for operatic roles he is also in demand on the concert platform and has appeared as a judge on channel seven's music competition show 'All Together Now'. Noted for his "generous voice, bright ringing vocal quality and legato phrasing" His operatic studies took place at the Australian Opera Studio. In 2019 John received his first Helpmann Award nomination, for his role as the Captain in Berg's Wozzeck, for Opera Australia.
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The station model was principally designed by Herman Zimmerman and Rick Sternbach. Ricardo Delgado, Joseph Hodges, Nathan Crowley, Jim Martin, Rob Legato, Gary Hutzel, Michael Okuda, and executive producer Rick Berman also contributed to the design. The miniature was fabricated by Tony Meininger.The Star Trek Encyclopedia Some production aspects are intended be discussed in the 2017 documentary series about the show, What We Left Behind: Looking Back at Star Trek Deep Space Nine which was under production by the year.
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The variations overlap twice (theme with variation 1, variation 3 with variation 4) in that the first half for the two variations in sequence followed by the second half for each. Both times this is done to contrast a staccato variation with a legato one. For the most part, the movement is for muted strings only, with notable wind outbursts in the second variation as well as the use of full tutti in the seventh variation which serves to recapitulate the movement.
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For him, mere finger dexterity was not the focus, and he did not advocate monotonous, mechanical exercises. He emphasized evenness of tone, a beautiful, song-like legato, and expressiveness. While including finger- stretching exercises to increase the student's span, he was careful to avoid fatigue by limiting the number of hours of practice per day and insisting on long walks and fresh air. Overall musical development was essential, achieved by lessons in theory, counterpoint and composition, and regular exposure to the best possible musical performances.
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These include tapping, extensive use of legato through pull-offs and hammer-ons (also known as slurs), pinch harmonics, volume swells, and use of a tremolo arm or effects pedals. Some electric guitar models feature piezoelectric pickups, which function as transducers to provide a sound closer to that of an acoustic guitar with the flip of a switch or knob, rather than switching guitars. Those that combine piezoelectric pickups and magnetic pickups are sometimes known as hybrid guitars. Hybrids of acoustic and electric guitars are also common.
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It also explains "'Something's Coming' does not follow a standard song structure such as verse and chorus. Instead it is held together by three ideas or themes which are heard throughout the song and presented in different ways." The first theme has a "tritone between the bass note C and the F sharp in the vocal line. The F sharp resolves onto a G.", the second has "declamatory repeated notes and the use of accents", and the third has "long sustained notes, legato phrases and rising intervals".
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He combined legato passages with "tight" (staccato) ornaments—runs, triplets and backstitching—as well as crans, all executed with the highest proficiency. However, he did not employ certain ornaments in common use today, such as raising the chanter off the knee to swell a note's volume and intensity. In these ways his style contrasts with the prominent influences on current piping who stayed in Ireland—Willie Clancy, Johnny Doran, Seamus Ennis, John Potts, and Leo Rowsome. Most uilleann pipes have three drones and three regulators.
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His debut proved a success and he was invited to sing at a string of more important venues. De Luca was renowned as a master of lyric, smooth-toned legato singing and his recordings confirm his excellence in this regard. A small man, De Luca lacked a voice of huge dimensions; but his voice was immaculately used and had ample carrying power in even the largest theatres. During De Luca's best years his voice also possessed exceptional beauty of tone, in the middle register particularly.
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Fiedler suggested writing a companion piece, and Anderson wrote Jazz Legato later that same year. The combined recording went on to become one of Anderson's signature compositions. In 1942 Anderson joined the United States Army, and was assigned in Iceland with the U.S. Counterintelligence Corps as a translator and interpreter; in 1945 he was reassigned to the Pentagon as Chief of the Scandinavian Desk of Military Intelligence. His duties did not, however, prevent him from composing, and in 1945 he wrote "The Syncopated Clock" and "Promenade".
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They alternate between a graceful legato and more decisive dotted rhythms. It has been suggested that the three unusual adagio cadences interrupted by pauses prior to the close indicate that Handel expected cadenzas by each of the soloists, although the surviving scores show no indication of this. The second movement is an allegro in D minor in a contrapuntal trio sonata style. The animated semiquaver figure of the opening bars is played in imitation or in parallel thirds as a kind of moto perpetuo.
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The accompaniment begins with broken ninth and tenth intervals supported by mildly dissonant chords; it is then followed by a hocket-like passage. This underlying texture continues through the first half of the song, contrasting with legato vocal melody. Faith's use of arch form or "coming full circle" reflects the influence of Brahms, whose many songs fall into this structural category. He may end with a literal repeat, a transposed portion, or only a fragment of A, and may repeat text, music, or both in the process.
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Holder (1982) 65 At the same time, equestrians increasingly replaced the senatorial order in the top commands. Septimius Severus (ruled 197–211) placed equestrian primipilares in command of the three new legions he raised and Gallienus (260–68) did the same for all the other legions, giving them the title praefectus pro legato ("prefect acting as legate").Goldsworthy (2000) 164Tomlin (1988) 108 The rise of the primipilares may have provided the army with more professional leadership, but it increased military rebellions by ambitious generals.
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When Jack Teagarden arrived in New York in 1928, he replaced Mole as the role model for trombonists, with a more legato, blues-oriented approach. Having started working for radio in 1927 (at WOR), Mole changed his focus to working with NBC (1929–1938). In 1938–1940 he was a member of Paul Whiteman's orchestra, but his style by then had changed under the influence of Teagarden. In 1942–3 Mole played in Benny Goodman's orchestra, and between 1942–1947 he led various dixieland bands.
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He is remembered as a singer of powerful vocal presence and the ability to present multi-faceted personalities on stage. He had an unusual ability to maintain a relaxed legato line even when singing music with wide jumps in pitch and sudden changes in volume ("barks") such as the role of Alberich. Wlaschiha also performed in concert and oratorio. On a 1984 recording of Bach's St Matthew Passion, conducted by Peter Schreier who also took the part of the Evangelist, he appeared as Pilate.
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"Unison" (monophonic mode) can be programmed for each patch. In this mode, the envelopes are re-triggered only after all keys are released ("legato", with low-note priority), and a delay of four oscillators relative to the other four can be programmed (fixed at 20, 40 or 80 milliseconds). A program can be "linked" to another so that both are called up and assigned correctly in a split or layer. There is also a programmable output level for each patch to help balance loud and soft sounds.
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As the right hand part contains a melody (and sometimes an extra filling voice) to be played by the three "weaker fingers" and an accompaniment figure played by the first two fingers, the hand can be divided into an "active element" and an "accompanying element" not unlike in Op. 10 No. 2\. French pianist Alfred Cortot (1877–1962) especially mentions the importance of "polyphonic and legato playing", the "individual tone value of the fingers" and the "intense expressiveness imparted by the weaker fingers".Cortot, Alfred. Frédéric Chopin.
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Report from Stockholm. Opera, June 1966, pp. 482–3. He was supposed to sing Lohengrin at the Bayreuth Festival in 1967, but his engagement for an American television film of Faust in the summer of that year prevented it. Gedda made more than 200 complete LP and CD recordings over a wide variety of styles and several of the roles may be considered among the most challenging in the entire operatic repertoire, notably Arnold in Rossini's Guillaume Tell and Arturo in I puritani, both requiring high notes and an easy legato line.
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The work in 48 measures is written in C minor and marked Adagio, Molto legato. It is set for SATB; all parts are divided in two for most of the time, a solo soprano is employed in measures 5 to 7, and the soprano is divided in three parts beginning in measure 34. The composer writes in the printed score: "... if the tight harmonies are carefully tuned and balanced they will shimmer and glow". Differently from other works of the composer, the piece is suitable for church services, especially for Christmas.
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The first section (bars 1–28) features a right-hand figuration that is straightforward with the accent falling always on the first note of each group of four semiquavers throughout the work. The main difficulty is that they must be played forte and legato at speed, ascending and descending sequentially over the keyboard. Due to the obligation to sustain the left-hand melody somehow whilst still keeping the right hand's figure clear, this presents a great difficulty. The central section (bars 29–60) features elaborations on the original figuration.
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In the performance of Italian bel canto music, the concept of the musical slur and that of the true portamento have not always been held to mean the same thing. This is explained simply by Nicola Vaccai in his Practical Method of Italian Singing, originally published 1832,Vaccai 1832. whose opinion in the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but an ornamental accentuation of the legato linking two distinct notes, without any slide or glide through the intervening notes.
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He also played and recorded sometimes using E-flat alto and B-flat soprano saxophones as well. His style was noted for very rapid runs of well-articulated notes in between long legato phrases in a ragtime influenced style. The rapidly articulated notes were made possible by the advanced techniques of double-tonguing and triple-tonguing, similar to those used by brass (trumpet, trombone, etc.) players and flutists. He was also known for his style of vibrato, which was very wide during the later years of his playing.
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Because the dance is led and followed at the level of individual steps, these variations can occur from one step to the next. This allows the dancers to vary the dance from moment to moment to match the music (which often has both legato and/or staccato elements) and their mood. The Tango's frame, called an abrazo or "embrace", is not rigid, but flexibly adjusts to different steps, and may vary from being quite close, to offset in a "V" frame, to open. The flexibility is as important as is all movement in dance.
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If a more soft tone is desired, the syllable "da" (as in double) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release, tongued release, etc.) For wind players, articulation is commonly spoken of in terms of tonguing because the tongue is used to stop and allow air to flow in the mouth. Tonguing does not apply to non wind instruments, but articulation does apply to all instruments.
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Later eclipsed by his rival Bellini, Vaccai is now chiefly remembered as a voice teacher. One of his notable students was soprano Marianna Barbieri-Nini. Vaccai wrote many books, one of which is his 1832 Metodo pratico de canto (Practical Vocal Method), which has been transposed to accommodate different voice types such as alto or low ranges such as bass in order to instruct students in the method of singing in the Italian legato style. It is still in print and may be used as a teaching tool.
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In March 2014 she sang in La sonnambula at the Metropolitan Opera. She returned to The Marriage of Figaro at La Scala debuting as the countess with the run premiering on 26 October 2016 where she received acclaim for her legato, phrasing, and interpretation of aria "Dove sono" in act 3. She took up the title role in Maria Stuarda at the Zürich Opera House in April 2018. In 2019 she debuted as Ophélie in Hamlet in concert performances at the Liceu and later at the Deutsche Oper Berlin.
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He also possessed a smooth legato, a strong but integrated 'attack' that eschewed intrusive aspirates, and a near-perfect ability to manage running passages and difficult musical ornaments such as roulades. These skills probably derived from his studies with Sir Charles Santley, a virtuoso English baritone of the Victorian era. If Dawson's interpretations were not profoundly penetrating, they were not shallow either; and in his chosen field of English concert pieces of the vigorous, manly, outdoors kind, he remains unequalled. The tremendously high technical finish of his Handelian singing sets an unmatched standard, too.
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In the early 1970s, Murray was one of the pioneer artists that lived and worked in the lower Manhattan area that later became known as SoHo. She exhibited in solo shows at the historic Betty Parsons/Jock Truman Gallery (1976) and the Clocktower Gallery (1978) in New York and the Dallas Museum of Fine Arts (1982), among others.Heiss, Alanna. "Painting as Painting, Painting as Sculpture, Painting as Architecture," in Judith Murray: From Vibrato to Legato, Alanna Heiss, Edward Leffingwell and Richard Kalina, New York: Sundaram Tagore Gallery and Ahmedabad, India: Mapin Publishing, 2006.
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His tomb inscription was composed by Marc Anthoine Muret gives a summary of his career; > HENRICO CLEUTINO GALLO VILLAE PARISIAE D. IN SCOTIA FRANCISCI I LEGATO, ET > HENRICI II GALLOS REGG. IBIDEM CVM EXERCITU PRO SCOTIAE REGINA, OB BENE > MERITU, HONORARII EQUITIS MUNERE, ET IN GALLIA OB REAS IN PRAELIO AD DRUIDAS > CONTRA REG. ET S. R. E. HOSTES COMMISU BENEGESTAS, A CAROLO IX TORQUATOR > MILITUM ORDINE, ET CATAPHRACTOR EQUITUM ALAE PRAEFECTUS DECORATO, ROMAE AD > PIUS IIII ET V PONTT. MAX. REGIS SUI NOMEN, AC DIGNITATUM ACCERIME TUTATU > HONORIFICA LEGATIONE AC VITA FUNCTO.
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When the guitarist plays such a series of notes quickly up and down as an arpeggio, the phrasing sounds typical of pianos and other instruments more associated with such arpeggios. Unlike pianos, woodwinds, and many other instruments, the guitarist can change key by moving the same arpeggio shape up and down the fretboard. Compared to other techniques, such as alternate picking, sweep picking requires few strokes. In some instances, however, a guitarist uses hammer-ons and pull-offs to produce a legato sound instead of actual pick strokes.
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Some sound modules focus on piano sounds, typically providing grand piano, electric piano, and a few other keyboard sounds, such as clavinet. Wind controller modules are specialized synth modules that are designed to work with wind controllers. They typically support legato wind-style playing and can respond to the unique controller inputs, which sense breath, biting on the mouthpiece, and pressing keys. Wind controller players may use a specialized wind controller module such as the Yamaha VL70-m module or its predecessors, the VL-1 or VL-7.
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However, he plays lead melodies and solos as well. Vuorinen's solo techniques usually include alternate picking, tapping, sliding, legato, and minor to extreme whammy bar use; he also employs sweep picking, although very rarely. His solos are more melodic than those of most metal bands, but he sometimes shreds (notably in "Nightquest," "The Pharaoh Sails to Orion," "Romanticide," and "Gethsemane" by Nightwish, and also in "Traitor" by Tarot, for which he provided a solo). Nightwish's first three albums feature a larger amount of lead guitar work from Vuorinen than their later albums.
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EMC NetWorker (formerly Legato NetWorker) is an enterprise-level data protection software product that unifies and automates backup to tape, disk- based, and flash-based storage media across physical and virtual environments for granular and disaster recovery. Cross-platform support is provided for Linux, Windows, macOS, NetWare, OpenVMS and Unix environments. Deduplication of backup data is provided by integration with Dell EMC Data Domain (DD Boost) storage solutions. A central NetWorker server manages a datazone that contains backup clients and NetWorker storage nodes that access the backup media.
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As in Orvonton, after announcing the piece in the first seven lines, the German words from section 8 onward analyse the stages of the work itself: "24 lines of notes for the flute / from 1 to 24 pitches / of the original row / source of all melodies / each line, a different low note / fragments of the groups / jumps in the entire space / fitting dynamics / articulation free / legato or staccato / pauses ad libitum / flexible tempo / one insert per line / for the fantasy / and the play / and the joy / for the magic / the eternal GOD" (Stockhausen 2009e, I).
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Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.
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Lisetta Ciaccio, Il Cardinal Legato Bertrando del Poggetto in Bologna (1327-1334) (Bologna 1906), pp. 141, 145-151. He was also to receive the homage of King Robert of Sicily to the Church. This he did on 25 June 1333.Mollat (1968), p. 394. Pope John XXII died on Sunday 4 December 1334. In 1335 the new Pope, Benedict XII, named Archbishop Bertrand Apostolic Nuncio in the Patrimony of St. Peter in central Italy, with the mission of bringing order to the territories of the Church in Italy. His commission is dated 6 May 1335.
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In this technique, the player presses the damper pedal slightly after striking the bar—shortly enough so the recently struck note continues to ring, but long enough so that the previous note stops ringing. In another damper technique—half pedaling—the player depresses the pedal just enough to remove the spring pressure from the bars, but not enough to make the pad lose contact with the bars. This lets the bars ring slightly longer than with the pad fully up and can make a medium-fast passage sound more legato without pedaling every note.
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Numerous other aliases were developed by Lieb during the 1990s; these included 23 different aliases as a solo artist, including Paragliders and Superspy, and twenty-two aliases for different groups and collaborations, including Force Legato (with Torsten Fenslau) and Azid Force (with Pascal Dardoufas, a.k.a. Pascal F.E.O.S.). In 1997, using the alias LSG, Lieb spent one week at #63 in the UK Singles Chart with "Netherworld". In 2000, and using his own name, he appeared in the UK Singles Chart for one week at #72 with the track "Metropolis", billed as 'Oliver Lieb presents Smoked'.
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Evelyn Lear's resigned-sounding Marschallin was not as compellingly acted as would have been ideal, but was sung "exquisitely" with "many lovely phrases". Ruth Welting's Sophie was technically impeccable and vividly characterized though somewhat cool and thin of tone. As Ochs, Jules Bastin made up for his "limitations in range and resonance" by singing with a legato stylishness and by entirely submerging his Belgian identity into that of the Viennese baron. José Carreras was "refulgent" as the Italian tenor, if manifestly challenged by Strauss's climactic high C-flat.
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This is also necessary for obtaining the second octave; the chanter must be closed and the bag pressure increased, and then fingered notes will sound in the second octave. A great range of different timbres can be achieved by varying the fingering of notes and also raising the chanter off the knee, which gives the uilleann pipes a degree of dynamic range not found in other forms of bagpipes. Pipers who use staccato fingering often are termed "closed-style" pipers. Those who use legato fingering more predominately are referred to as "open- style" pipers.
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Her later performance at the National Concert Hall in Dublin was viewed favourable by the critics and resulted in the signing by Universal Records. Keys released her first studio album, Legato, which debuted at number 14. She has performed in the Royal Albert Hall and has toured with Alfie Boe, Russell Watson, Paul Potts, the Welsh Fron Male Voice Choir and performed in West End theatres. She performed during Pope Francis' first state visit to America in September 2015 and also for his private reception at Mansion House, Dublin.
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Unlike many bebop percussionists, who loaded the musical space with accents against the prevailing meter and thus created rhythmic intensity, Best resumed the legato development of Jo Jones. He played on the beat and rarely used loud accents. Playing in this way he was not only a model for cool jazz but also influenced countless bar combos. Best was renowned for his brush work: fellow drummer Jake Hanna said that he "might be the best brush player of all drummers",Falzerano, Chet (1995), Gretsch Drums: The Legacy of "That Great Gretsch Sound", Hal Leonard Corporation.
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He later fights Vash with the coin case completed and subsequently activated, which nullifies his threads, and loses. He then forces Vash to kill him by threatening to kill Livio. In the anime, Legato, recruited by Knives to make Vash's life a living hell, is placed as the leader of the Gung-Ho Guns and receives Vash's left arm from Knives, granting him the ability to manipulate victims with telepathy. He worships Knives as a god, and sees humans like himself as garbage, only good for consuming resources.
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Pipe organists must learn both finger substitution and foot substitution. Pipe organist Sandra Soderlund notes that because there is "no way to sustain the sound when the finger or foot leaves the key, music that is to be legato has to be carefully fingered and pedaled". Organists use "finger substitution, finger and toe slides, and other tricks to accomplish this". On the pipe organ, performers use a related technique with their feet when playing the pedal keyboard; for some passages, performers may replace one foot with another foot.
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Chopin, Nocturne in B major, Op. 62, No. 1 350px One of his last works, the Nocturne in B major opens with what might be described as a bard's striking of the strings. After the simple introductory chords, a simple melody in B major emerges. At first, the action proceeds gently and smoothly (dolce, legato). But the song soon turns into declamation, led by a lofty, dramatic raised voice, and after a flashy scale in the right hand, Chopin leads us to the B section of this ternary formed (ABA) nocturne.
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Philippe Huttenlocher gave a "very polished performance" as Guglielmo, acting the part convincingly, using his words intelligently and bringing a laudable legato to "Non siate ritrosi". Jules Bastin's Alfonso was sung forcefully but without much expressiveness, a charge that could not be levelled at Teresa Stratas. Her Despina was vivid and extremely musical, but it was "a pity that she felt the need to squeak and squawk so grotesquely in her impersonations of a doctor and a notary". The chief failings of the album, though, had nothing to do with any of its soloists.
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Joseph Haydn portrayed by John Hoppner in 1791, ten years after La fedeltẚ premiata's première The musicologist Stanley Sadie reviewed the album on LP in Gramophone in September 1976. After a long preamble sketching La fedeltà premiata's storyline and acknowledging the opera's dramatic and musical limitations, he praised the album for its strong cast and committed performances. Lucia Valentini Terrani, he thought, provided "fine-drawn tone and firmly held line". Ileana Cotrubas was "delicious", her Act 1 aria "a joy, sweetly phrased, staccato and legato singing neatly contrasted".
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In the series' climax, it is revealed that Vash's blond hair turning black is a secondary effect of overusing his supernatural powers. Despite his efforts in his design, Nightow regrets giving Vash and antagonist Legato Bluesummers detailed eyes because he drew them inconsistently in the manga. Nightow had trouble designing Vash's gun as he aimed it to look visually attractive and effective to use. Although he originally wanted to create a gun with unlimited bullets, he replaced it with a traditional one after consulting a picture of an upside-down barrel for inspiration.
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Italo Gardoni in 1874 Italo Gardoni (12 March 1821 – 26 March 1882) was a leading operatic tenore di grazia singer from Italy who enjoyed a major international career during the middle decades of the 19th century. Along with Giovanni Mario, Gaetano Fraschini, Enrico Tamberlik and Antonio Giuglini, he was one of the most celebrated Italian tenors of his era. His voice was not large but it was exceptionally pure toned and sweet, lacking any disruptive vibrato. He sang legato passages with impressive smoothness but he could also dispatch florid music with flair and considerable agility.
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The work is scored for 2 oboes, bassoon, 2 horns, and strings with continuo. The work is in four movements: #Allegro di molto, #Poco adagio in D major, #Menuetto e Trio (Trio in A minor), #Presto, The first movement features a four-note motif with an answering 3-note one. The slow movement features muted strings and contrasts legato passages with dotted staccato sections that anticipate the slow movements of symphonies 60 and 65 where the juxtaposition of the two styles is more stark.Brown, A. Peter, The Symphonic Repertoire (Volume 2).
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Wayne's scale fingerings were designed to maximize use of consecutive/alternate picking, and thus to provide a legato feel. His basic scale fingerings are simple, although he also created various extended forms. Like his analytic approach to chords, his scale fingerings provide a single structure that can be applied to a variety of scale forms. The simple rule for transverse diatonic, melodic minor, and harmonic minor scales is: 2-3-3-3-2-2, where each number represents the number of notes to play on each string, from low E to high E strings.
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The term "hammer-ons from nowhere" is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string. Many guitar virtuosos are well-versed in the legato technique, as it allows for rapid and "clean" runs. Multiple hammer-ons and pull-offs together are sometimes also referred to colloquially as "rolls," a reference to the fluid sound of the technique. A rapid series of hammer-ons and pull-offs between a single pair of notes is called a trill.
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Over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note. This is why the timbre of a note may be perceived differently when played staccato or legato. A driven non- linear oscillator, such as the vocal folds, a blown wind instrument, or a bowed violin string (but not a struck guitar string or bell) will oscillate in a periodic, non-sinusoidal manner.
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Jazz guitarists integrate the basic building blocks of scales and arpeggio patterns into balanced rhythmic and melodic phrases that make up a cohesive solo. Jazz guitarists often try to imbue their melodic phrasing with the sense of natural breathing and legato phrasing used by horn players such as saxophone players. As well, a jazz guitarists' solo improvisations have to have a rhythmic drive and "timefeel" that creates a sense of "swing" and "groove." The most experienced jazz guitarists learn to play with different "timefeels" such as playing "ahead of the beat" or "behind the beat," to create or release tension.
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Mazda RX-4 coupe (LA2; Australia) In most export markets, the Japanese Luce Rotary sold as the Mazda RX-4. It was a larger car than its rotary-powered contemporaries, the Capella-based RX-2 and Grand Familia-based RX-3. It used the Luce chassis, replacing the R130 in October 1972, and was produced through October 1977. Its predecessor (the R130) and replacement (the rotary Luce Legato) were not sold in the United States. Mazda marketed the RX-4 as being sporty and luxurious "personal luxury car" with the RX-4 having the best of both worlds.
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A player using the col legno technique strikes or rubs the strings with the wood of the bow rather than the hair. In spiccato playing, the strings are not "drawn" by the bow hair but struck by it, while still retaining some horizontal motion, to generate a more percussive, crisp sound. In staccato, the player moves the bow a small distance and stops it on the string, making a short sound, the rest of the written duration being taken up by silence. Legato is a technique where the notes are smoothly connected without accents or breaks.
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Like a dense sweet balsamic "vinegar", the balsamic vincotto Agrodolce version can also be used to dress salads and season cooked vegetables, and can even be used in desserts such as fruits or ice cream. These are produced by blending a sweet matured vincotto with vinegar produced from the same red grape varieties. The resulting product is allowed to mature for several more months until it becomes "legato", which means "smooth". The result is an Apulian balsamic vinegar that can be used in the same way as a balsamic vinegar of Modena, although it does have some additional properties.
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Jazz guitarists integrate the basic building blocks of scales and arpeggio patterns into balanced rhythmic and melodic phrases that make up a cohesive solo. Jazz guitarists often try to imbue their melodic phrasing with the sense of natural breathing and legato phrasing used by horn players such as saxophone players. As well, a jazz guitarists' solo improvisations have to have a rhythmic drive and "timefeel" that creates a sense of "swing" and "groove." The most experienced jazz guitarists learn to play with different "timefeels" such as playing "ahead of the beat" or "behind the beat," to create or release tension.
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The follow up album, 1994's Garage Sale was initially released on Legato Records along with an expanded version of No Borders called No Borders Plus. By 1996 the CVB had moved to CMG Mighty Tiger Records and released Slang Justice featuring bassist Dave Marotta and keyboardist Jim Cox. The record was simultaneously released in Europe on the Provogue label and the CVB began touring in Europe extensively and continues to do so to the present day. The 4th album entitled Slingshot was written on the road with Supertramp on the 1997 Some Things Never Change Tour.
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Hinds performing in 2009 Originally playing the banjo, Hinds learned his "signature style" of fast hybrid picking by emulating banjo fingerings on guitar. He frequently utilizes the minor pentatonic, natural minor, and the harmonic minor scales in his playing as well as many hammer-ons, pull-offs, and legato slides. Hinds grew up listening to country, but when he entered his late teens he started listening to Neurosis and Melvins, bands that would have a profound influence on his musicianship. Hinds has also stated that he is a big fan of the progressive and psychedelic rock genres, especially from the '70s.
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Marianne J. Legato was born in 1935, in New York. She grew up accompanying her father, a general practitioner, on house calls and hospital rounds, and knew by the age of three that she wanted to follow him into a career in medicine. Although he had high expectations for his daughter, her father was anxious to protect her and opposed her decision to go to medical school. She enrolled at his alma mater, New York University College of Medicine, but could not persuade him to allow her to have her independence and a career in medicine.
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Vallier inherited the family music tradition as well as music scores annotated with technical and interpretative markings by Paderewski and Clara Schumann. Perhaps not surprisingly given his musical pedigree Vallier was particularly at home with the music of the Romantics. He had a strong orchestral approach to performance, with wide range of dynamics, excitement, subtle pedal technique, all embellished in a singing legato sound (a principal characteristic of Clara Schumann's teachings). He possessed a formidable technique, yet was a man of small stature and despite considerable power in performance maintained a restrained position at the keyboard.
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Loureiro is known for his tremendous technical skill on the guitar, frequently incorporating such techniques as two handed tapping, sweep picking (full swept arpeggios), alternate picking, hybrid picking, artificial & natural harmonics and combining legato & staccato in the same run or phrase. He is also well known for both his instructional and demonstration videos as well as for writing columns for and appearing on the cover of magazines Cover Guitarra, Guitar & Bass, and Young Guitar. Despite being a right-handed guitarist, Loureiro is naturally left-handed. As such, he spends most of his pre-warmups focusing on his right-hand techniques.
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According to some music historians, including David Hatch and Stephen Milward, Beck's boogie-woogie- based playing style on the record anticipated the works of many rock and roll pianists. "He may have been the best sanctified pianist", wrote Anthony Heilbut, "his playing was more legato and improvisatory than the herky-jerky ragtime of Arizona Dranes". During the 1930s, Beck became a proficient trumpet player. His recordings in the decade represent the formative years of modern African-American gospel music; indeed, Beck's work was preceded notably only by Thomas A. Dorsey, whose career overshadowed much of Beck's accomplishments.
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By 1998, British skipper Tracy Edwards had bought the yacht and renamed her Royal & SunAlliance. Edwards and crew set a new record for an all-female crew sailing across the North Atlantic, at 9 days 11 hours 21 minutes and 55 seconds. Tracy and her crew broke a total of seven world records with the Royal & SunAlliance, including a Channel Record that stood for three years. During their attempt to win the Jules Verne Trophy, the Royal & SunAlliance was dismasted in the Southern Ocean. In 2000, Tony Bullimore purchased the yacht, renamed her Team Legato, and lengthened her to 100 feet.
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In a fast tempo, it becomes difficult to use the bow to draw the sound out of the string for every note and becomes necessary to instead strike the string with the bow hair while still retaining some horizontal motion with the bow in order to play each note clearly. To play spiccato, the bow must be controlled with the wrist and fingers rather than with the whole arm as is the case when playing legato. As a result, the bow bounces off the string to produce a crisp, percussive sound, making each note audible even in fast-tempo passages.
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These extra-vocal qualities come through on the many records that she made. She recorded extensively for the Victor Talking Machine Company and the Gramophone Company/HMV. Her best recordings include a spectacular rendition of "Io son Titania" from Ambroise Thomas' Mignon and "Saper vorreste" from Verdi's Un ballo in maschera, in which Tetrazzini's personality virtually jumps out of the grooves at the listener. On a different note, her recording of "Addio del passato" from La traviata is very moving and also demonstrates her fine legato, as is her "Ah non credea mirarti" from La sonnambula.
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The first movement of the sonata is in sonata form, and consists of three themes of new material, a development, in which the themes from the exposition are varied and combined, and a recapitulation, in which the exposition is repeated and varied. The sonata begins with the first theme of the exposition, which itself begins with a forte arpeggiated chord, followed by three thirds. The theme next contains a series of falling quarter notes over block chords and Alberti bass, rapid sixteenth notes, and falling fifths. The second theme consists of legato triplets in the right hand over octaves in the left.
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Slobodskaya had a voice of immense purity, steadiness, agility and expressiveness with an almost incandescent quality above the stave. As a recitalist, she possessed the imagination and vivid temperament to convey to an audience ignorant of Russian the precise mood of each song, whether elegiac, boisterous, satirical or childlike. As her many recordings reveal, these rare interpretative powers were matched by a beautiful and ample voice of characteristically Slavonic colour and by a technical mastery which showed itself especially in supple and sustained legato phrasing. She retained her vocal and interpretative powers to an advanced age.
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Whittington and McClelland in 1992, however, evaluated the opportunity costs of the Jonglei Canal I project at $US 500 million. The main hospital and schools are in Bor. Access to adequate healthcare in the state is extremely poor, and the situation has worsened since 2009 when Médecins Sans Frontières Belgium, who had been running the Bor Hospital, pulled out of the country amidst security concerns. Dr Samuel Legato Agat, a doctor at the hospital, was trained in Cuba and Canada, but most staff at the hospital as of 2012 were illiterate and incapable of producing documentation for patients.
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Bowed notes in the lowest register of the instrument produce a dark, heavy, mighty, or even menacing effect, when played with a fortissimo dynamic; however, the same low pitches played with a delicate pianissimo can create a sonorous, mellow accompaniment line. Classical bass students learn all of the different bow articulations used by other string section players (e.g., violin and cello), such as détaché, legato, staccato, sforzato, martelé ("hammered"-style), sul ponticello, sul tasto, tremolo, spiccato and sautillé. Some of these articulations can be combined; for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds.
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Mozart's Amen fragment The chords begin piano on a rocking rhythm in , intercut with quarter rests, which will be reprised by the choir after two measures, on Lacrymosa dies illa ("This tearful day"). Then, after two measures, the sopranos begin a diatonic progression, in disjointed eighth- notes on the text resurget ("will be reborn"), then legato and chromatic on a powerful crescendo. The choir is forte by 8, at which point Mozart's contribution to the movement is interrupted by his death. Süssmayr brings the choir to a reference of the Introit and ends on an Amen cadence.
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This fingering hinders speed, is more difficult than moving from the thumb and third finger for the first interval to the index and fourth for the second interval, and is therefore not used by every performer. However, this fingering is given for specific purposes; it makes the consecutive thirds sound more like a horse by preventing legato and expressive playing and builds strength in the second and fourth fingers. Earlier versions were marked "Staccatissimo"; some later editions are marked "Sempre fortissimo e con strepito." An earlier version of this piece was published under the same name in 1840 (S.138).
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Professional oboes used in the UK and Iceland frequently feature conservatoire system combined with a thumb plate. Releasing the thumb plate has the same effect as pressing down the right-hand index-finger key. This produces alternate options which eliminate the necessity for most of the common cross-intervals (intervals where two or more keys need to be released and pressed down simultaneously), but cross intervals are much more difficult to execute in such a way that the sound remains clear and continuous throughout the frequency change (a quality also called legato and often called-for in the oboe repertoire).
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Influenced by Domenico Scarlatti's harpsichord school and Haydn's classical school and by the stile Galante of Johann Christian Bach and Ignazio Cirri, Clementi developed a fluent and technical legato style, which he passed on to a generation of pianists, including John Field, Johann Baptist Cramer, Ignaz Moscheles, Giacomo Meyerbeer, Friedrich Kalkbrenner, Johann Nepomuk Hummel and Carl Czerny. He was a notable influence on Ludwig van Beethoven and Frédéric Chopin. Clementi also produced and promoted his own brand of pianos and was a notable music publisher. Because of this activity, many compositions by Clementi's contemporaries and earlier artists have stayed in the repertoire.
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Although subsequent developments, including the rotary valve and double horn, supplanted these horns in most places, the pumpenvalve horn was retained in Vienna because it sounds more like the natural horn: with a more mellow sound and arguably smoother legato. This is due in part to the piston valves and in part to the larger throated (but smaller diameter) bell-flare still used with these instruments. The Vienna horn has remained virtually unchanged since the mid-nineteenth century. Horn players who use the Vienna horn also use a natural horn mouthpiece, which is less concave than a typical double horn mouthpiece.
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1536 Mélisande, Golaud and Arkel in Act 4, Scene 2 of the opera's 1902 world première Hilary Finch reviewed the album on CD in Gramophone in February 1988. "Frederica von Stade's Mélisande", she wrote, "is without doubt the central performance: there is the sense of animal instinct, the raw nerve endings, the simplicity ... And there is, above all, her sensitivity to the changes of register". José van Dam's Golaud managed to elicit compassion despite being altogether the man "fait au fer et au sang" (made of iron and blood). Ruggero Raimondi, a younger-sounding Arkel than some, sang with a praiseworthy legato.
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The last movement is a rollicking virtuoso movement in 6/8 time signature in the key of F major. It starts with a forte chord and is followed by a passage of fast 16th notes in the right hand. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th notes passage. There is a change of character in measure 16 where the music is marked piano/dolce and the right hand has a simple melody embellished with ornamentation and back-and-forth contrasting legato to staccato articulations.
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DVL-H9 is the only high-end LD-DVD combo player and it is only sold in Japan. It looks similar to -919 but it is heavier and taller. The weight is 17kg. The side boards and face plate are made of extruded aluminum and the top cover is 2 mm thick steel board covered by aluminum board. DVD playback part is based on DV-9, and thus its component video output for DVD supports progressive scan (while DVL-919 only support interlaced). Audio functions are also improved and support 24-bit 96kHz Legato Link S (while -919 is without ‘S’).
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For example, there were "cutesy" effects in the "Rheinlegendchen" which would enthrall some listeners but leave others wishing that von Stade had eschewed them and relied on her innate charm instead. Technically, her performances were full of things for the connoisseur of singing to enjoy. For instance, there was her immaculate bel canto filigree in "Wer hat dies Liedlein erdacht?", and her gorgeous legato phrasing of the lines "Liebst du um Liebe, o ja, mich liebe!" in "Liebst du um Schönheit" and "Sie mag so glauben ich sei gestorben" in "Ich bin der Welt abhanden gekommen".
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The arpeggios in Chuck Wayne's system were explained in his book with his student, Ralph Patt.Guitar arpeggio dictionary, Chuck Wayne and Ralph Patt 1965 Henry Adler Publishing NYC His arpeggios are derived from the rule for each two-octave arpeggio: 2-1-2-1-2 (five strings) for playing the tetrad (4 notes) harmonic forms of Chuck Waynes' chordal voicings. Unlike other ad-hoc arpeggio fingerings, the two notes per string followed by one note per string rule provides the characteristic legato sound of Chuck Wayne. Combined with the consecutive- alternate picking, the arpeggios resemble harp-like flows.
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The Symphony No. 55 in E major, Hoboken I/55, is a symphony by Joseph Haydn, composed by 1774. It is scored for 2 oboes, bassoon, 2 horns and strings. It is in four movements: #Allegro di molto, #Adagio ma semplicemente, in B major #Menuetto & trio, #Finale: Presto, The second movement is a theme with seven variations. Keeping with the semplicemente marking, the theme is quite simple and is in two halves. A recurring contrast amongst the variations is between those that are staccato (theme, 2 & 3) and those that are more legato (1, 4, 5).
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To create lead guitar lines, guitarists use scales, modes, arpeggios, licks, and riffs that are performed using a variety of techniques. In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, lead guitar lines often employ alternate picking, sweep picking, economy picking and legato (e.g., hammer ons, pull offs), which are used to maximize the speed of their solos or riffs. Such "tricks" can employ the picking hand used in the fret area (such as tapping), and even be augmented and embellished with devices such as bows, or separate electronic devices such as an EBow (electronic bow).
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In the recapitulation, the initial statement of the theme is embellished by a solo flute. The slow movement in D major consists mainly of embellishments of the legato oboe and solo cello theme which opens it, though every so often is punctuated by chords played by the whole orchestra. After hearing this slow movement, Johannes Brahms is said to have remarked, 'I want my Ninth Symphony to sound like this'.Classical CDs of the week: Borrowed Time, Haydn, Brahms and more... The Daily Telegraph, 15 September 2007 It is the second of Haydn's symphonies to use trumpets and timpani in the slow movement, the first being the Symphony no.
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This is an example of syncopation. The left hand leaps intervals of up to a tenth (octave plus a third) between the bass and the lowest note of the following chord (and back): this requires a very strong left hand 5th finger. Very often, the performer is required to hold the uppermost note of the right hand in legato while continuing to play the rest of the chord in that hand (and in the left hand) as staccato: this requires a very strong right hand 5th finger. The ending is marked Lento and pianissimo and the chords are all on beat in stark contrast with the rest of the piece.
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The middle section features a fugato on a subject related to the cantilena (xangô) motive from the second movement. This passage is the first occurrence of the atonal, chromatic, legato style found often in Villa-Lobos's subsequent quartets . The finale is similar in structure to the first movement, consisting of three successive, contrasting sections and a recapitulation of the first, concluding with a short coda . Unlike the first movement, however (and unlike all of the composer's earlier quartets), there is a certain thematic kinship amongst the sections, with a recurrence of a falling-third figure and the use of pseudo-Indian motifs influenced by Antonín Dvořák's "American" Quartet .
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The vivace finale brings all these techniques into one, requiring the trombonist to exhibit advanced range, legato, double tonguing, and flexibility. Thus, the piece is limited to the best trombonists, although there have been numerous recordings by such famed players as Joseph Alessi, Christian Lindberg and Ian Bousfield. It is often considered to be the trombone (and euphonium) equivalent (in terms of required mastery of the instrument) to the Carnival of Venice for trumpet or cornet, by Jean-Baptiste Arban. American composer Leroy Anderson also wrote an orchestral arrangement giving a very clean and sprightly melody to the high strings and woodwinds, befitting the female speaker of the lyrics.
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Septimius Severus (ruled 197–211) placed equestrian primipilares in command of the three new legions he raised and Gallienus (260–68) did the same for all the other legions, giving them the title praefectus pro legato ("prefect acting as legate").Goldsworthy (2000) 164Tomlin (1988) 108 The rise of the primipilares may have provided the army with more professional leadership, but it increased military rebellions by ambitious generals. The 3rd century saw numerous coups d'état and civil wars. Few 3rd-century emperors enjoyed long reigns or died of natural causes.Goldsworthy (2000) 164–5 Emperors responded to the increased insecurity with a steady build-up of the forces at their immediate disposal.
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In some marches, a short introduction to the trio is heard, often a repeat of the opening introduction, or it may be a different melody played by the whole band, a fanfare by the brasses—or a percussion soli (drum roll-off) as heard in "Semper Fidelis" by Sousa. Another example of a trio introduction is found in "Twin Eagle Strut" by Zane Van Auken. The third (or technically fourth or fifth) primary melody in a march is called the trio, which usually is the main melody of the march. It typically is played legato style in a softer dynamic and features woodwinds more than brass.
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He also performed there the title role in Götz Friedrich's new staging of Tannhäuser in 1978, alongside Gwyneth Jones as both Venus and Elisabeth, conducted by Colin Davis, and filmed live. A reviewer noted his assured singing and acting, giving the character both authority and anguish. In 1981, Wenkoff made his debut at the Metropolitan Opera, again as Tristan. The New York Times' review compared him to Ludwig Suthaus and Ramón Vinay, and noted his "solid lower register", "care for declamation and a sensitivity to the drama", with a focus on the character's introspection, with the "finest impact during the legato of the Act II love duet".
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The trio section features non-stop eighth notes in the right hand and, once again, quarter notes in the left hand. It starts with an eight-measure modulating passage repeated once and moves on to another eight-measure passage that ends in the tonic, and is also repeated once. This passage contains four harmonious measures that are followed by a varied reiteration of the theme in the trio part (which is played in the first eight-measure passage). The section, without going into as much detail as is shown above for the legato section (although this could be done) is thus in binary song form.
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The bassline, for which McKenna frequently employed the rarely used lowest regions of the piano, was often played non-legato to simulate a double bassist's phrasing. The chords were played with the thumb and forefinger of the right hand or of both hands combined, if the bass was not too low to make the stretch unfeasible. Sometimes he also added a guide-tone line consisting of thirds and sevenths on top of the bass, played by the thumb of the left hand. With his right hand's remaining fingers, he then played the melody, weaving it into improvised lines featuring colorful chromaticism, blues licks and mainstream-jazz ideas.
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The party advances past Xylophone Tower and the Noise Dunes to Double Reed Tower, where Legato made another portal. There, the party defeats them and finally fight Chopin as the final antagonist, for him to complete his destiny. Realizing that it is the only way to save the world, Polka jumps off a cliff and is reborn younger, but then becomes older again and embraces Allegretto. Finally, back in the real world, Chopin's spirit rises out of his body and he plays his piano one last time, in a blooming sea of nocturnal flowers 'Heaven's Mirror', composing a song that was inspired by Polka.
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Nocturne in E-flat major, Op. 55, No. 2 The second nocturne in E major features a 12/8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggi from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody. There is a considerable amount of ornamentation in the right hand, for instance the prolonged trills in measures 34 and 52-54. The characteristic chromatic ornaments, in measures 7, 25, 36, and 50, often subdivide the beats in a syncopated fashion in contrast with the steady triplets in the left hand.
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This section is noted for being difficult for the flutes and piccolo, as they are expected to play legato and slurred right at the top of their registers and intonation flaws are easily noticeable throughout due to the registers and chords in most parts. The tempo and velocity of the piece dies down, and the slow melody repeats itself here, this time in a lower key and by the first flutes. To accompany this, a French horn melody is introduced, followed again by the previous melody in a different key. The reminiscent fast section begins againthis time in a different key, with an altered melody.
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Brain originally played a French instrument, a Raoux piston-valve horn, similar to that used by his father. This type of instrument has a particularly fluid tone and a fine legato, but a less robust sound than the German-made instruments which were becoming common. In 1951 he switched to an Alexander single B instrument, complaining that "they want me to play the right notes all of the time!" The Alexander had a custom lead pipe which was narrower than the usual, and offered a sound which, if not comparable to the Raoux, at least gave a nod in the direction of the lighter French instrument.
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These high tension drums were first developed by Legato of Australia for pipe band snare drums. High tension drums began and were perfected in the pipe band market and later moved into the marching band and drum corps areas. The bottom (or resonant) side of the drum has a tightly tuned head and synthetic gut or metal snare wires, which are often secured to the drum using a strainer to limit their movement and make the sound more staccato. For outdoor use, a projector or "scoop" - a piece of curved plastic - may be attached to the back of the bottom hoop to help project the sound forward to the audience.
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Percussion instruments, such as timpani or cymbals, often resonate for a long time. To control the length of the notes, percussionists will often have to either place their hands on the instrument or use a pedal mechanism as in the case of tubular bells and pedal glockenspiels. Mallet dampening on the vibraphone is an important technique that facilitates legato phrasing on the instrument. It is accomplished by striking a note on one of the bars of the instrument while the pedal is depressed and then using the head of the same or another mallet to stop the vibrations of the bar without raising the pedal.
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Pianists need to master finger substitution to create a legato sound. Finger substitution is a playing technique used on many different instruments, ranging from stringed instruments such as the violin and cello to keyboard instruments such as the piano and pipe organ. It involves replacing one finger which is depressing a string or key with another finger to facilitate the performance of a passage or create a desired tone or sound. The simplest type of finger substitution is when a finger replaces another finger during a rest; the more difficult type is to replace one finger with another while a note is being played.
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Maximinus I (Thrax) (ruled 235–8), whose career epitomises the soldier- equestrians who took over command of the army during the 3rd century. A Thracian shepherd who had led a group of peasant vigilantes against rural robbers in his home region, he joined the army as a cavalryman in 197 under Septimius Severus and was probably granted an equus publicus by Caracalla towards the end of his rule (218). Under Alexander Severus he was given command of a legion and later served as provincial governor (praeses pro legato) in Mauretania Tingitana and in Germania before seizing supreme power in a coup d'état in 235.
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Whereas an electronic piano's sustain pedal is a momentary, non- latching switch depressed to provide sustain, and then released to end the sustained note, a bass pedal unit's electronic sustain is a latching switch, which, when clicked on automatically sustains all notes for a fixed, short period after the pedal is released. The benefit of the bass pedal's sustain button is that it facilitates legato, sostenuto basslines in slow ballads. Some units with sustain also had a rolling dial to enable the setting of the automatic sustain length. A 1970s-era bass pedal is typically monophonic, which meant that it could only play one note at a time.
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It has the form ABABA: the A section is a sprightly, somewhat quirky tune, full of off-beats and cross-rhythms. High in the first violin there appears the song of a bird the composer believed to be a scarlet tanager; however, the song was likely not that of the tanager. Second section of the scherzo The B section is actually a variation of the main scherzo theme, played in minor, at half tempo, and more lyrical. In its first appearance it is a legato line, while in the second appearance the lyrical theme is played in triplets, giving it a more pulsing character.
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Drawing on elements of the earlier traditional, Texas swing, and dancehall periods, the Cajun "renaissance" also incorporates more modern elements of folk, blues, jazz and swamp pop, and bluegrass styles. The fiddle players relax, involving a more legato feel to the solos. The quick fiddle action and double stops are missing, replaced by dominant blues chords and jazz slides. Pioneers such as BeauSoleil with Michael Doucet, Zachary Richard, Jambalaya Cajun Band, Bruce Daigrepont, and others broke new ground, while other musicians such as Eddie LeJeune, Irvin LeJeune, Homer LeJeune, Robert Jardell, Les Frères Michot, the Pine Leaf Boys, and others brought energy to older, more traditional forms.
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However nice this theme may sound the basis is the same three repeat that formed the basis for the goblin theme. The great difference is in the way they are played: the goblin is in a staccato form presented, where all three notes are short and distinctive of sound, and the girl has a legato played theme, where the three notes are played long, and almost glide over in each other. The third theme introduces the mother with a suspense theme in B minor which makes the mood even more sad. Again her theme starts with three notes, though the rhythm of the notes is turned around.
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We'll have to come back stronger next season." Journalists and pundits reviewing the final unanimously agreed that Arsenal were deserved winners. Ian Ridley wrote in The Independent on Sunday of 17 May 1998: "Where Arsenal played legato, Newcastle were staccato in their passing and though they enjoyed a purple patch after raising the tempo in the second half, twice hitting the goal frame, they were largely limp opposition." The Guardian football correspondent David Lacey was in awe of the double winners' performance, writing "There have been more distinguished Wembley triumphs but it is hard to remember a final being won with the sheet pace of Arsenal's victory over Newcastle on Saturday.
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The Baltic states saw a noticeable growth in the hip hop community since the start of the 21st century. All three of the nations that comprise the Baltic states, which became independent in 1991 at the collapse of the U.S.S.R., have created a unique Baltic sound, that started from little to no beginnings prior to the independence of the nations. In all three nations the native language; Estonian, Latvian, and Lithuanian, respectably, are the dominant language of Baltic MC's. Some popular Baltic hip hop artists are: Lithuanian- G&G; Sindikatas, Legato, Despotin' Fam (Vaiper, Shmekla, Liezhuvis, Andrewla) (formerly known as Shmekla&Vaiper;), Tie Geresni (Karpiz, LT, Boostas), Mc Mesijus, Lilas, Dee & Kamy.
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Pick tapping (or pick trilling) is a legato playing technique for the guitar, in which the edge of the pick is used to sharply trill notes on the instrument's fretboard at fast speeds. Whilst trilling can be performed with the fingers of either the fretting or picking hand, using the pick enables faster speeds by means of 'vibrating' (or effectively seizing up) the wrist. The technique should not be confused with regular tapping, which always makes use of both hands and involves playing at least three or more notes. A well- known example is "Satch Boogie" by Joe Satriani, in which there is a section that uses pick tapping to produce trills at 22.2 notes per second.
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He adds, "In phrases requiring much grace and expression, it produces a very good effect: the abuse of it, however, is to be carefully avoided, as it leads to mannerism and monotony."Vaccai 1975, 30. However, Manuel García (1805–1906), a singing pedagogue of immense renown, in his New Compendious Treatise of the Art of Singing, Part 1, Chapter VII, "On Vocalization or Agility (Agilità)", gave the opposite opinion. Writing of the means by which the voice is conducted from one note to another, he distinguished between "con portamento" (the gliding or slurring mode) and "legato" (simply the smooth mode of vocalization).García 1871, Part 1, Chapter VII, 10–11, at p. 10.
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The highest pitch, 17,200 Hz, is near the upper limit of human hearing, and occurs only in a single tone mixture, as the uppermost of its five pitches . The five sections of the piece are differentiated in the first instance by the types of groups employed: horizontal (melodic) or vertical (chordal). Horizontal groups are either connected (legato) or separated by silences; vertical groups either attack all notes together and end with one note after another, or build up gradually into a chord and then end together. The pattern is as follows : # horizontal, with linked sounds # vertical, with groups alternately beginning and ending simultaneously # horizontal, with silences between the sounds # vertical, as in section 2 # combination of horizontal and vertical.
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Similarly, some kinds of licks are easier when played using such specialized techniques as legato, economy picking (a hybrid of alternate and sweep picking) or tapping. Despite some of the well-known disadvantages of the technique, some guitarists (such as Al Di Meola, Steve Morse) emphasize the near-exclusive use of alternate picking, even in situations where another technique would be easier, claiming that pure alternate picking leads to a more consistent sound and allows for greater control of tone. Alternate picking can be heard in almost all styles of picked guitar music, from jazz and bluegrass, to heavy metal. Victor Wooten uses his thumb for alternate picking, as displayed on his DVD "Super Bass Solo Technique".
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Legato is the founder and editor of The Journal of Gender- Specific Medicine and of Gender-Medicine and a leading advocate for the inclusion of women in clinical trials. She is annually cited in New York Magazine's top doctors issues. She is also the author of bestselling Why Men Die First: How to Lengthen Your Lifespan, Eve's Rib:The New Science of Gender- Specific Medicine and How It Can Save Your Life, The Female Heart, and Why Men Never Remember and Women Never Forget, which was translated into eleven languages. She edited the medical textbook, Principles of Gender Specific Medicine, the first compilation for professional audiences of the sex-specific aspects of normal human function and disease.
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He also recorded with the group Bach's St John Passion and St Matthew Passion and participated in the group's Bach Cantata Pilgrimage in 2000. He recorded Bach's Magnificat and Mass in B minor with Hickox and the Collegium Musicum 90. His recording of songs of Charles Villiers Stanford with pianist Clifford Benson was acclaimed in the International Record Review in 2000: > He sounds as if he has been singing Stanford all his life, and his warm, > natural baritone, finely judged legato and sensitivity to words are a joy > throughout. Varcoe wrote a book on the art of singing English song: Sing English Song: a practical approach to the language and the repertoire.
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A rather surprising use of a Lowrey Organ, on a percussive "marimba repeat" setting, was the synthesizer-like background noise on The Who song "Baba O'Riley". Mike Ratledge of Soft Machine switched from a Vox Continental to a Lowrey Holiday Deluxe sometime between late 1966 and early 1967, and used it from then on, adding a fuzzbox and plugging it into a Marshall stack. To prevent feedback in the silences between notes (consequence of playing at a very high volume), Ratledge invented a style of his own avoiding the between-note gaps by soloing in legato. Mike Oldfield made use of the instrument quite extensively on his Tubular Bells album, and on several later albums as well.
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Sammarco possessed a strong voice with a powerful upper register; but of all the celebrated singers preserved on early recordings, Sammarco's are regarded as the most disappointing. The technical quality of his singing disappoints and the timbre of his voice can sound rough; at best he is merely dull. On record, according to Scott and Steane, he has a singular inability to sing less than mezzo forte and has no concept of legato. He impresses most when delivering declamatory passages in verismo operas (see Scott, cited below) including an early (celebrated or notorious) recording with the soprano Emma Carelli from Tosca, complete with peals of laughter; even in these "specialist" roles, his singing is unimaginative and crude.
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Knote made his American debut at the Metropolitan Opera on 3 December 1904 in Die Meistersinger. He was so successful in this and other Wagner operas that during his three seasons with the Met company, his popularity was said to have almost rivalled that of the Met's superstar tenors Enrico Caruso and, from the previous generation, Jean de Reszke. Surprisingly enough, Knote never sang at the Bayreuth Festival. (His legato-based method of singing would not have been a good fit in any case with Bayreuth's then favoured sprechgesang style of vocalism.) He did, however, enter into a contract with the artistically esteemed Dresden Opera; but this was cancelled suddenly in 1909 after a dispute with management.
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Vocally, thrash metal can employ anything from melodic singing to shouted vocals. Most guitar solos are played at high speed and technically demanding, as they are usually characterized by shredding, and use advanced techniques such as sweep picking, legato phrasing, alternate picking, tremolo picking, string skipping, and two-hand tapping. Anthrax were among the earliest and most successful thrash acts The guitar riffs often use chromatic scales and emphasize the tritone and diminished intervals, instead of using conventional single scale based riffing. For example, the intro riff of Metallica's "Master of Puppets" (the title track of the namesake album) is a chromatic descent, followed by a chromatic ascent based on the tritone.
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Schlusnus frequented German recording studios during the 1920s, '30s and '40s—committing to disc an impressive array of lieder and a panoply of standard German and Italian operatic arias and duets. Many of these recordings are available on CD, notably a complete Rigoletto sung in German opposite Erna Berger, Helge Rosvaenge, Margarete Klose and Josef Greindl. He was also heard often on German radio broadcasts made prior to, and during, World War II. The English music critic, J.B. Steane, writes highly of the baritone's legacy of recordings in his survey of classical singing on disc, "The Grand Tradition". Steane praises him for the fine-grained beauty of his tone, his musicality, and the smoothness of his legato.
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The second movement opens with a broken chord oscillation typical of Glass, and the low strings and woodwind begin the descending ground bass pattern that they will repeat for the duration of the movement. The rest of the orchestra is introduced over the subsequent repetitions of the ground bass, accumulating layers of harmony. Over this harmonic tissue the violin plays a series of high motifs—one legato, consisting mainly of repeated sustained notes and two of arpeggiated figures. Once established, these motifs are shared equally between the soloist and the orchestra, with the soloist playing one while the orchestra plays one of the others, shifting the motif between sections of the orchestra.
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Thus most bagpipes share a constant, legato sound where there are no rests in the music. Primarily because of this inability to stop playing, technical movements are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments (or "ornaments") are often highly technical systems specific to each bagpipe, and take many years of study to master. A few bagpipes (such as the musette de cour, the uilleann pipes, the Northumbrian smallpipes, the piva and the left chanter of the surdelina) have closed ends or stop the end on the player's leg, so that when the player "closes" (covers all the holes) the chanter becomes silent.
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There are also 13 ricercars in the book, which alternate passages in brilliant toccata style with passages in three-part counterpoint similar to that of the vocal music of contemporary composers such as Jacob Obrecht. In addition to music by Capirola (and others -- Capirola evidently transcribed several pieces by other composers for the book), the Lutebook contains a preface which is one of the most important primary sources on early 16th century lute-playing. It includes information on how to play legato and tenuto, and how to perform ornaments of various types, how to choose the best fingering for passagework. It also includes very practical details such as how to string and tune the instrument.
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Elizabeth de la Porte at the harpsichord known as the 'Little Italian' Elizabeth de la Porte FRCM (15 September 1941 – 9 April 2020) was a harpsichordist, Baroque tutor and pianist. She was renowned for bringing to her performances a rhythmic drive and excitement while allowing the instrument to sing, with extraordinary seamless and legato lines and expressive phrasing. During her performing career she made many public appearances, in the UK, continental Europe (Vienna, Geneva etc.), and her native South Africa. She was acclaimed for a wide-ranging repertoire that included Böhm, Rameau, François Couperin, Scarlatti and Handel, but she was praised above all for her playing of J. S. Bach and his six Partitas for solo harpsichord.
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Holdsworth was known for his highly advanced knowledge of music theory, through which he incorporated a vast array of complex chord progressions, often using unusual chord shapes in an abstract way based on his understanding of "chord scales", and intricate improvised solos, frequently across shifting tonal centres. He used a myriad of scale forms often derived from those such as the lydian, diminished, harmonic major, augmented, whole tone, chromatic and altered scales, among others, often resulting in an unpredictable and dissonant "outside" sound. His unique legato soloing technique stemmed from his original desire to play the saxophone. Unable to afford one, he strove to use the guitar to create similarly smooth lines of notes.
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Unlike other composers who attempted to alter and modernize folk music, such as Ralph Vaughan Williams, Grainger wished to maintain the exact stylizing that he experienced from the originals. In the piece's program notes, Grainger wrote: "...Each number is intended to be a kind of musical portrait of the singer who sang its underlying melody—a musical portrait of the singer’s personality no less than of his habits of song—his regular or irregular interpretation of the rhythm, his preference for gaunt or ornately arabesqued delivery, his contrasts of legato and staccato, his tendency towards breadth or delicacy of tone." Grainger dedicated his "bunch of Wildflowers" to "the old folksingers who sang so sweetly to me".
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In the summer of 1951, Corelli won the Maggio Musicale Fiorentino in Florence, earning a debut at Spoleto the following fall. He was originally scheduled to sing Radames in Verdi's Aïda and spent three months preparing the role with conductor Giuseppe Bertelli. However, Corelli eventually switched to Don José in Bizet's Carmen, feeling that at this point he lacked the technical finesse and legato for the role of Radamès. In May 1952, he made his debut at the Rome Opera as Maurizio in Adriana Lecouvreur opposite Maria Caniglia as Adriana.FRANCO CORELLI PERFORMANCE ANNALS 1951-1981 The same year he appeared in operas with smaller opera houses throughout Italy and on the Italian radio.
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Each tutorial begins with exercises and moves on to short original pieces and adaptions or transcriptions of excerpts from the repertory. For instance, the first tutorial starts with traditional scales (although the fingerings are unorthodox), then adds two excerpts which require power and speed: the first is from Liszt's Totentanz, and the second is based on two bars in Busoni's "Turandots Frauengemach" [Turandot's Bedchamber] (Book 4 from Elegien, BV 249). This is followed by two original compositions: a 16-bar "Tempo di Valse" and a 33-bar "Preludio," both of which emphasize legato scales at moderate speed. Busoni frequently lists at the bottom one or more pieces from the repertoire as examples (in German: Beispiele) suitable for further study.
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The head is described as a pike's head, and the frog is either fixed (the clip-in bow) or has a screw mechanism. The screw is an early improvement, indicative of further changes to come. As compared to a modern Tourte-style bow, the Corelli-Tartini model is shorter and lighter, especially at the tip, the balance point is lower down on the stick, the hair more yielding, and the ribbon of hair narrower—about 6 mm wide. 17th-century baroque bow In the early bow (the Baroque bow), the natural bow stroke is a non-legato norm, producing what Leopold Mozart called a "small softness" at the beginning and end of each stroke.
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This brilliant virtuoso piece is rhythmically complex, contrasting thunderous left-hand ostinato against a jagged right hand melodic line. As in Chopin's Revolutionary Etude, the performer must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. The structural form of the piece is ternary, roughly "ABA" with a coda. The main "idea" of the composition appears in measure 3: 300px Measure 3 Here, the left-hand ostinato continues unimpeded as the treble line, accented and marked sempre marcato and fortissimo makes a regal entrance. By measure 20, the kernel of measure 3 is varied drastically, into a transcendent sequence that introduces an inner voice and offsets the main theme.
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EXs3 ($149) includes over 700 MB of brass and woodwind samples, perfect for orchestral and pop productions. Recorded using world-class instruments and players, the collection features piccolo, flute, alto flute, clarinet, bass clarinet, oboe, English horn, bassoon, contrabassoon, soprano sax, alto sax, tenor sax, baritone sax, trumpet, piccolo trumpet, cornet, flugelhorn, trombone, French horn, bass tuba, contrabass tuba, dual-trumpets, dual-trombones, and brass ensemble. Designed to be richly expressive, the samples include multiple dynamics, straight and vibrato versions, breathy and overblown tones, legato, staccato, trills, flutter, growl, sforzando, glissando up/down, falls, doits, voice, breath, attack elements, grace notes, and key noise elements. 128 Programs and 64 Combinations take full advantage of the new sounds.
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Since the publication of Trouble In The Camera Club, a number of his photos have appeared in other publications. As a producer, music recorder and mixer, his credits include releases by The Sadies, Legato Vipers, Soupcans, The Key Frames, Iggy Pop, Peaches, Tied to the Branches, John Doe, Andre Williams, The Good Family and others. He composed and produced music for films by Ron Mann, Sarah Polley, Wrik Mead, Derek von Essen and John Greyson as well as composing and/or producing music for The Inside Out Film and Video Festival, Mike Roberts, TV Ontario, Dragon's Den, This Week on Movies and others. He created sound design and mixed the feature documentary She Said Boom: The Story of Fifth Column by director Kevin Hegge.
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He discovered and employed the tenth or "broken tenth" interval. The pianist could not only substitute tenths for single bass notes but could also play broken (staggered) tenths up and down the keyboard Stride pianist Art Tatum (1909–1956) (a fan of Fats Waller and Lee Sims, who was himself a fan of the European "Impressionist" pianists such as Claude Debussy and Erik Satie, and hosted a radio program Tatum enjoyed) introduced more complex harmonies into his playing, and, like Fats Waller, would start songs with legato explorations of chordal intricacies before launching into swing. Tatum was given a posthumous Grammy Award in 1974. Stride pianists used devices such as arpeggios, black note slide-offs, varying rhythmic accents, and tension and release.
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De Telegraaf, Het Parool and others, and the Los Angeles Times, Orange County Register, Los Angeles Herald Tribune and others for the period 1949–1962. Her conducting technique was noted for her command of period style, cohesive ensemble, clear and decisive baton technique, transparent ensemble textures, buoyant and propulsive rhythms, and conducting all performances without a score. As a soloist on the cello and viola da gamba, she was noted for her particular insight into the music of Johannes Brahms and Johann Sebastian Bach, especially the Suites for Unaccompanied Cello BWV 1007–1012. Belinfante's solo, concerto and chamber performances were characterized by a singular beauty of tone, faultless intonation and legato, complete technique, profound involvement with the music, and an expressive interpretation free of mannerism.
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She is currently senior attending physician at St. Luke's-Roosevelt and has been a senior attending physician at the Presbyterian Hospital since 1998. She has held several teaching appointments and committee memberships at both institutions, and in 1997 founded the Partnership for Gender-Specific Medicine at Columbia University College of Physicians and Surgeons. As director of the Partnership, Legato promoted collaboration between academic medicine and the private sector to generate research on the differences between men and women. Her mission is to ensure the inclusion of women in clinical trials of relevance to the health of both sexes, to promote the study of differences in the biology of men and women and how gender affects the diagnosis and treatment of disease, for the benefit of all patients.
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Legato has won professional recognition for her work, including the Martha Lyon Slater Fellowship from 1965 to 1968 and in 1971, the J. Murray Steele Award, both from the New York Heart Association. Her research career, which defined the structure and function of the myocardial cell, was supported by a Research Career Development Award from the National Institutes of Health and by research grants from the National Heart, Lung, and Blood Institute of the National Institutes of Health. She has served on study sections to review applications for NIH grants at the National Heart Lung and Blood Institute. She was a charter member of the advisory board (1995–1998) to the newly created Office of Research in Women's Health of the NIH.
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A contrasting theme from the first section The piece is marked Lento con gran espressione and is written in common time. After a soft, sad introduction, the main theme starts at bar 5, with the left hand playing broken chords in legato slurs throughout the section, imparting a haunting and continuous quality to the music (similar to the Moonlight Sonata). The theme then shifts to a dreamy pianissimo in bar 21, before returning to the original theme in bar 47, and finally ending in C major. The first two bars of the theme from the middle section (bars 21 and 22), resemble the main theme from the third movement of Chopin's second piano concerto in F minor, which was composed around the same time (1829).
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The through-composed piece is written in a very loose sonata form with frequent shifts in tempo, mood, and tonal centre, but has no clear resolution, as would be expected in a typical sonata. It has a lush and highly virtuosic piano part; Scott Goddard argued that "in all English music of the last half-century there has been no purer pianoforte writing than this". The clarinet part covers the instrument's entire range, incorporating both legato and rhythmic passages. A reviewer from the News Chronicle, cited by Colin Lawson, noted that he "had never imagined that clarinet and piano could be combined so satisfactorily; nor that (by a mixture of tact and daring) they could form such an exciting ensemble".
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Patti cut more than 30 disc gramophone recordings of songs and operatic arias (some of them duplicates) — plus one spoken voice recording (a New Year's greeting to her third husband, which she intended him to keep as a memento) — at her Welsh home in 1905 and 1906 for the Gramophone & Typewriter Company.Discography compiled by W. R. Moran and appears in the appendix to Klein's Reign of Patti referenced above. By then she was aged in her 60s, with her voice well past its prime after a busy operatic career stretching all the way back to 1859. Nonetheless, the limpid purity of her tone and the smoothness of her legato line remained uniquely impressive, compensating to some extent for the weakening of her breath control.
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Paul Whiteman asked Gershwin to write a "jazz concerto", which became the Rhapsody in Blue; like a concerto, the piece is written for solo piano with orchestra: a rhapsody differs from a concerto in that it features one extended movement instead of separate movements. Rhapsodies often incorporate passages of an improvisatory nature (although written out in a score), and are irregular in form, with heightened contrasts and emotional exuberance; Gershwin's Rhapsody in Blue is typical in that it certainly has large contrasts in musical texture, style, and color. The music ranges from intensely rhythmic piano solos to slow, broad, and richly orchestrated sections. The opening of Rhapsody in Blue is written as a clarinet trill followed by a legato, 17 notes in a diatonic scale.
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Goldsand taught many students during his long tenure at the Manhattan School including Suezenne Fordham , Neil Galanter, Harris Goldsmith , Anne Koscielny , Thomas Schumacher , and Ralph Votapek . According to Henry Edmundson, a student for one year not long before Goldsand's death, Goldsand was "a stickler for tradition" and demanded that the student adhere to Goldsand's way of playing a piece. Harris Goldsmith recalls Goldsand as a "pianistic charmer" with "debonair technical ease," citing an instance when Goldsand demonstrated with his left hand how to obtain the desired legato in the coda of Chopin's fourth ballade. Goldsand's passion for Beethoven had a major influence on his pupils, particularly in the case of Dr. Kevin Moore, a prominent professor of piano at Onondaga Community College in upstate New York.
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Sinatra with Eileen Barton in 1945 Sinatra made a point of studying Tommy Dorsey's trombone playing as a means of cultivating a more free-flowing vocal style — he noticed that Dorsey used a small airhole at the side of his mouth to sneak breaths when playing. Sinatra would employ a similar technique, and so be able to hold notes for incredibly long durations. In addition to this, Sinatra started to jog and swim underwater to develop his lung capacity — which enabled him to continue a musical phrase through a stanza without pausing, or breaking the note, for breath. Sinatra's legato-style of singing/phrasing took pop singing in new directions when most singers of the 1940s were keen to emulate Bing Crosby.
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The series' storyline follows the adventures of the legendary gunman Vash the Stampede as he spreads his message of love and peace throughout the world while combating his brother Millions Knives and the Gung-Ho Guns assassins' leader Legato Bluesummers. The main character of the series is Vash the Stampede, a jovial, pacifist gunman who is always followed by disaster and misfortune due to the large bounty on his head. During the early part of the series he is constantly chased by Meryl Stryfe and Milly Thompson, insurance agents assigned with the duty of evaluating damages involving Vash. Early on he also meets Nicholas D. Wolfwood, a violent and serious traveling preacher who becomes Vash's strongest fighting ally and friend throughout his adventures.
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Adding La Gioconda in her repertoire, Tebaldi has chest notes carried high, bearing ample size and strength but little of the known beauty of Tebaldi's tone. Similarly, in her recorded Puccini roles at that time, one can’t always count on the "floats" being easily produced or accurately pitched. Some critics of Tebaldi have commented her seemingly incomplete technique, sometimes she took on strident, full-voiced top notes when tackling material above the high B-flat, and occasional lapses on her pitch. For most audiences however, there is a sheer and plumy richness of Tebaldi's voice, her melting legato phrases, the deeply expressive but never maudlin quality of singing, the beauty of her floated pianissimo high notes, and her temperament when dwelling in moments of dramatic intensity.
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In the autograph manuscript there is a figured bass in the continuo part, but it is known whether this was added later, so no further instruments beyond harpsichord and strings are required for performance. The harpsichord enters with its own material in the third bar. The material in a long four bar phrase contrasts with the monumental ritornello, with an expressive melodic line of legato semiquaver figures weaving between long sustained notes, either played off the beat or approached through sighing appoggiaturas. Further dynamical contrast is created by the lowest string parts falling silent, the bass line being provided just by the harpsichord: until halfway through the second part (bar 23), the accompaniment is provided only by the two violins and viola, marked piano.
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Proof sheet of Étude Op. 10, No. 2 with fingerings in Chopin's handwriting, 1833 The technical novelty of this étude is the chromatic scale to be played by the three outer fingers of the right hand together with short semiquaver notes to be played by the first and second fingers of the same hand and the difficulty is to do this evenly in piano and legato at the required tempo of M.M. 144. Other piano composers before Chopin, such as Ignaz Moscheles (1794–1870) in his Études Op. 70,Moscheles, Ignaz. Studien für das Pianoforte zur höheren Vollendung bereits ausgebildeter Klavierspieler, bestehend aus 24 charakteristischen Tonstücken in verschiedenen Dur- und Molltonarten. Leipzig: H. A. Probst, 1827, reprint Kistner, 1860, No. 3, G major, p. 20.
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Tutti statement of the theme:Tutti statement of the theme. The minor version of the theme also appears in the cadenza, played staccato by the solo piano:Solo piano statement of theme in the cadenzaSolo piano statement of theme in the cadenza. This is followed, finally, by a restatement of the major key version, featuring horns playing legato , accompanied by pizzicato strings and filigree arpeggio figuration in the solo piano:Final statement of the theme in a major key by the horns after the end of the cadenzaFinal statement of the theme in a major key by the horns after the end of the cadenza. Fiske (1970) says that Beethoven shows “a superb flood of invention” through these varied treatments. “The variety of moods this theme can convey is without limit” .”Fiske, R. (1970, p.
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The audition was a success and the resulting album, After the Rain, went on to sell in excess of three million copies and yielded a national No. 1 ('Love and Affection') as well as two Top Ten follow-up singles. In early 1990, Garsed also recorded Centrifugal Funk for Mike Varney's label Legato Records, an intense guitar album featuring Frank Gambale and Shawn Lane. For most of 1991 Garsed toured the US with Nelson, and spent ‘92 recording Quid Pro Quo with Chicago-born guitarist T J Helmerich after the duo decided to sign to Varney’s label. With Nelson on a seemingly permanent hiatus, Garsed and TJ pursued their career promoting Quid Pro Quo, which featured Bobby Rock on drums, Gary Willis on bass and Paul Mirkovich on keys.
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According to his students and colleagues, Pullman was a visionary musician; his desire for a kind of revelatory ensemble playing led him to make use of the widest possible range of string tone, to demand a perfect legato, and to search out highly unorthodox fingerings to match his conceptions of phrasing. Rehearsals were intense and long -- however, they functioned as rolling all-day affairs where members came and went as their schedules permitted. Through his pupils Felix Galimir, Richard Goldner, and others, his ideas influenced the training of generations of chamber music performers in the U. S., Australia (Musica Viva Australia), and elsewhere. In August 1939, he visited Warsaw, Poland, in an attempt to sell a house belonging to his wife, and was trapped there by the German invasion.
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While playing power chords (a chord that includes the prime, fifth and octave) in standard tuning requires a player to use two or three fingers, drop D tuning needs just one, similar in technique to playing barre chords. It allowed them to use different methods of articulating power chords (legato for example) and more importantly, it allowed guitarists to change chords faster. This new technique of playing power chords introduced by these early grunge bands was a great influence on many artists, such as Rage Against the Machine and Tool. The same drop D tuning then became common practice among alternative metal acts such as the band Helmet, who used the tuning a great deal throughout their career and would later influence many alternative metal and nu metal bands.
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In a passage quoted by Julius Paulus from the Libri de Stipulationibus, Pedius states with respect to the interpretation of wills, > It is best not to scrutinize the proper signification of words, but mainly > what the testator has intended to declare; in the next place, what is the > opinion of those who live in each district. In other words, the intention of a testator should prevail over the literal meaning of his words, if they should appear to be in conflict; and that ambiguity should be resolved according to the local practice or understanding in the place where the testator lived.Digesta, 33. tit. 7. s. 18. § 3, De Instructo vel Instrumento Legato (Quoted from George Long, "Sextus Pedius", in the Dictionary of Greek and Roman Biography and Mythology).
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Visual effects were overseen by Stan Winston and his team, while the newly founded Digital Domain was responsible for creating the digital effects under Visual Effects Supervisor Robert Legato. Director Neil Jordan was initially hesitant to use Stan Winston Studios, because they had gained a reputation for specializing in large-scale animatronics and CGI with Jurassic Park and Terminator 2: Judgment Day; Interview with the Vampire was going to require mostly makeup effects. Winston designed the characters' vampire appearances and makeup effects, including a technique for stenciling translucent blue veins on the actors' faces. This required the actors to hang upside down for 30 minutes, so that the blood would rush to their heads and cause their veins to protrude, enabling the makeup artists to trace realistic patterns.
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The characteristic long, sustained, and singing sound produced by the violin, viola, violoncello, and double bass is due to the drawing of the bow against their strings. This sustaining of musical sound with a bow is comparable to a singer using breath to sustain sounds and sing long, smooth, or legato melodies. In modern practice, the bow is almost always held in the right hand while the left is used for fingering. When the player pulls the bow across the strings (such that the frog moves away from the instrument), it is called a down-bow; pushing the bow so the frog moves toward the instrument is an up-bow (the directions "down" and "up" are literally descriptive for violins and violas and are employed in analogous fashion for the cello and double bass).
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The ceòl mòr style was developed by the well- patronized dynasties of bagpipers MacArthurs, MacGregors, Rankins, and especially the MacCrimmons and seems to have emerged as a distinct form during the 17th century. Compared to many other musical instruments, the Great Highland bagpipe is limited by its range (nine notes), lack of dynamics, and the enforced legato style, due to the continuous airflow from the bag. The Great Highland bagpipe is a closed reed instrument, which means that the four reeds are completely encased within the instrument and the player cannot change the sound of the instrument via mouth position or tonguing. As a result, notes cannot be separated by simply stopping blowing or tonguing, so grace notes and combinations of grace notes, called "embellishments", are used for this purpose.
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It should also be borne in mind that a curving line or phrase-mark (similar to a slur mark) is the usual way, in vocal notation, of indicating to the singer that the vowel sound of a word should be carried over or ligatured upon two or more consecutive notes (as in a roulade), and that in such usage legato and not slurring is always intended unless the slur is specifically indicated. Although portamento (in the sense of slurring) continued to be widely used in popular music, it was disapproved of for operatic singing by many critics in the 1920s and 1930s as a sign of either poor technique, or of bad taste, a mark of cheap sentimentalism or showiness.Potter 2006, 543–44. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate.
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The measured tremolo, presumably played with rhythmic regularity, was invented to add dramatic intensity to string accompaniment and contrast with regular tenuto strokes. However, it was not till the time of Gluck that the real tremolo became an accepted method of tone production. Four other types of historical tremolos include the obsolete undulating tremolo, the bowed tremolo, the fingered tremolo (or slurred tremolo), and the bowed- and-fingered tremolo. The undulating tremolo was produced through the fingers of the right hand alternately exerting and relaxing pressure upon the bow to create a "very uncertain–undulating effect ... But it must be said that, unless violinists have wholly lost the art of this particular stroke, the result is disappointing and futile in the extreme," though it has been suggested that rather than as a legato stroke it was done as a series of jetés.
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Lorenzo Magalotti was born on 1 January 1584 (1583 according to the Florentine calendar) in Florence to senator Vincenzo Magalotti, and Clarice Capponi. He studied law at the University of Perugia and completed his studies earning a doctorate in utroque iure in 1607 at the University of Pisa. After the death of his father, in 1608 he moved to Rome and he took up a career in the administration of the Papal States: in 1609 he became referendary of the Tribunals of the Apostolic Signature, from 1611 for three years he was appointed Vice-legate in Bologna. From 1616 to 1618 he was governor of Montaldo (the southern part of Marche) and from 1618 to 1619 he acted as Vice-legato of Patrimonio (the province of Viterbo) and in 1620 he was appointed governor of Ascoli.
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From there Riestra worked as director of photography on several films including: Normal the Düsseldorf Ripper (2009), which earned him a nomination for Best Cinematography at the Czech Lion Awards, Black Bread (2010) for which he won best cinematography at both the Goya Awards and Gaudi Awards, Lidice (2011), which earned him another nomination for best cinematography at the Czech Lion Awards, Katmandú: A Mirror in the Sky (2011), earning him a nomination for best cinematography at the Gaudi Awards, and Mama (2013), for which he was nominated for best cinematography at the Canadian Screen Awards. Riestra recently worked on the upcoming film Eloise directed by Rob Legato, Stephanie directed Akiva Goldsman. He is a member of the American Society of Cinematographers (ASC), the Czech Assoc. of Cinematographers (AČK), the European Film Academy, the Catalan Film Academy, and IATSE 600.
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The instrument controllers provide feedback to the player by sensing the player's current fingering, which is then shown as a waveform drawn at the base of the note track, in the same style as the chord representation, allowing the player to match their waveform to the chord's shape. Chord names are shown at the side of the track, and players can optionally enable a feature that numbers every fret position for a chord, closely resembling the appearance of guitar tablature. In addition, Pro Guitar and Bass include legato-style playing through hammer-ons and pull-offs, as well as slides on sustained notes along the strings represented by sustained note gems with slanted tails. Pro Guitar also includes open chords, arpeggios where the player holds a chord and plucks specific strings for it, and left-hand muting of notes.
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Van den Eynde ordered an identical legato for the firstborn that would be produced from the marriage between his other daughter, Donna Giovanna Maria van den Eynde (mother of Giuseppe di Gennaro Vandeneynden, 1st Prince of Sirignano), and Don Filippo di Gennaro, with the same conditions: that the surname Van den Eynde be appended and the bequest not given away. Both marriages produced offspring, and both heirs added Van den Eynde to their name. Van den Eynde's son Ferdinand, for whom, as mentioned, he purchased a peerage title, married Olimpia Piccolomini, nephew of Cardinal Celio Piccolomini, restored the Van den Eynde's Palazzo Zevallos Stigliano, widened its art collection, and built the Villa Carafa of Belvedere in Vomero. Ferdinand had two daughters, Elizabeth and Jane, who married the heirs of two of the most powerful Italian families, the Colonna and the Carafa.
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During the time that Creed was at the end of its career in the early 2000s, Tremonti had intentions to form a speed metal side project called Downshifter (with Hatebreed vocalist Jamey Jasta and Slipknot drummer Joey Jordison), but the project never got off the ground. Later, in 2008, Tremonti and his brother formed FRET12, an online musicians' community, production company, and record label, to release his 2008 instructional guitar documentary DVD titled Mark Tremonti: The Sound & the Story, wherein he teaches all of his guitar solos from Alter Bridge's sophomore release, Blackbird. He also teaches warm-ups, alternate tunings, finger picking style, legato techniques, and other advanced exercises. His DVD, which is the first in The Sound & the Story series of instructional DVDs, also features guest appearances from Myles Kennedy, Michael Angelo Batio, Rusty Cooley, Bill Peck, and Troy Stetina.
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But because they were only equestrians, they could not be appointed to the top military commands, those of legatus Augusti pro praetore (governor of an imperial province, where virtually all military units were deployed) and legatus legionis (commander of a legion). In the later 2nd century, emperors tried to circumvent the problem by elevating large numbers of primipilares to senatorial rank by adlectio.Goldsworthy (2000) 164 But this met resistance in the senate, so that in the 3rd century, emperors simply appointed equestrians directly to the top commands, under the fiction that they were only temporary substitutes (praeses pro legato). Septimius Severus (r. AD 193–211) appointed primipilares to command the three new legions that he raised in 197 for his Parthian War, Legio I, II & III Parthica Gallienus (r. AD 253–268) completed the process by appointing equites to command all the legions.
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April 1997, when members of Lambda Istanbul were invited to the National Congress on AIDS, marked the first time a Turkish LGBT organization was represented at the government level. During the early 2000s (decade), new organizations began to be form in cities other than Istanbul and Ankara, like the Pink Life LGBT Association in Ankara, the Rainbow Group in Antalya and Piramid LGBT Diyarbakir Initiative in Dıyarbakır. In 1996, another LGBT organization, LEGATO, was founded as an organization of Turkish university students, graduates and academicians, with its first office at Middle East Technical University in Ankara. The organization continued to grow with other branches in numerous other universities and a reported 2000 members. In March 2007, LGBT students organized for the first time as a student club (Gökkuşağı – in English: rainbow) and Club Gökkuşağı was officially approved by Bilgi University.
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Even though it was not released as a country song, it was among the first big hits to use what was to become the Nashville sound — a string orchestra and legato harmonized background vocals. "Rockin' Around the Christmas Tree" got noticed in its third release a few months later, and sales snowballed; the song remains a perennial favorite each December and is the record with which she is most identified by contemporary audiences. Her last top ten single on the pop charts in the United States was 1963's "Losing You" (No. 6), though she continued to have other chart hits such as 1964's "As Usual" (which peaked at No. 12 in the US and made No. 5 in the UK), her 1966 song "Coming on Strong" (which peaked at No.11 in the US) and "Is It True" (No.
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Reszke was equally successful at singing in German, and his appearances as Lohengrin, Walther von Stolzing, Siegfried, and Tristan were lauded by music critics, who praised him for demonstrating how the extremely demanding and often declamatory music that Wagner wrote for his heldentenors could be sung with beauty of tone and, wherever practicable, a smooth legato line. American-born Lillian Nordica was the most illustrious of the dramatic sopranos that partnered him in Wagner's operas. During his heyday, Reszke sang Italian operas less frequently than French or Wagnerian ones. Indeed, in 1891, his keenly awaited interpretation of the title role in Verdi's last tragic masterpiece, Otello, had disappointed the critics somewhat; while expertly sung, it lacked the clarion ring and elemental force that his main tenor rival, Francesco Tamagno (1850–1905), had brought to the part.
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Mattia Battistini was esteemed as one of the greatest of singers and even a cursory acquaintance with his many discs will make it clear why he was so celebrated by his contemporaries. Amongst the arsenal of vocal weapons that he displays on record were the perfect blending of his registers coupled with the sophisticated use of ornamentation, portamento and fil di voce, as well as an array rubato and legato effects. His art was perfected before the advent of "passion-torn-to-tatters" verismo opera in the 1890s, and together with the likes of Pol Plançon and Mario Ancona (and, to a lesser extent, Alessandro Bonci), he represented the twilight of the art of male bel canto singing on disc. Fortunately the sound of Battistini's clear, high-placed and open-throated baritone voice took well to the primitive acoustic recording process with only his very lowest notes sounding pallid.
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The minuet is in incipient ternary form, A-A-B-A, a type of song form as differentiated from other, such as the binary song form in the format A-B, the ternary A-B-A, or the rondo, A-B-A-C-A or an alternate form but with the "A" theme repeating after each new theme in the sequence of themes. In terms of A-B-A sections, the three parts are: #Moderato #Trio #Moderato The Moderato section features a melody, marked legato (to play in a smooth, even style without noticeable breaks between the notes). Quarter notes occupy most of the left hand in this A section, which is made up of two periods. The first four-measure (a) phrase is in the tonic of G Major; the second four-measure (b) phrase modulates from the tonic to the dominant of D Major.
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However, once a student learns that most Baroque instrumental music was associated with dances, such as the gavotte and the sarabande, and keyboard music from the Baroque era was played on the harpsichord or the pipe organ, a modern-day student is better able to understand how the piece should be played. If, for example, a cello player is assigned a gavotte that was originally written for harpsichord, this gives the student insight in how to play the piece. Since it is a dance, it should have a regular, clear pulse, rather than a Romantic era-style shifting tempo rubato. As well, since it was originally written for the harpsichord, a light- sounding keyboard instrument in which the strings are plucked with quills, this suggests that the notes should be played relatively lightly, and with spaces between each note, rather than in a full-bodied, sustained legato.
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Dennis Harvey wrote in Variety that the film is a "whirlwind tour through three decades of mostly lesbian-targeted, folk rocking 'women's music' " and "is entertaining on its own terms, but offers little for those not already well-acquainted with this musical scene". In the Chicago Reader, reviewer Patrick McGavin wrote "Although visually and formally plain, the work is enlivened by expressive performances from Holly Near, Ronnie Gilbert, and Sweet Honey in the Rock that showcase the liberating power of the music". The Washington, D.C. gay newspaper Metro Weekly review gave the film five out of five stars, with reviewer Nancy Legato writing "In the sheer volume of footage and inclusion of voices, Mosbacher … has managed a huge accomplishment". In two different newspapers in Miami, a male reviewer deemed the film "mildly compelling", while a female reviewer described it as "lively", "bursting with terrific live clips" and featuring "insightful interviews".
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Excerpt from the beginning of Étude Op. 10, No. 10 Étude Op. 10, No. 10, in A major, is a technical study composed by Frédéric Chopin. This étude places huge demands on the performer in varying a single pattern by changes of accent and touch. Chopin's primary concern in this work is for the widest possible variety of touch that can be given to a single figuration, with the continuous changes of accent highlighting not only different parts of the figuration but also emphasizing the polyphonic nature of the pattern. The opening section (bars 1–16) sets forth the three basic variations with almost a constant legato bass line; off-beat with four accents per bar in the right hand against four in the left hand (bars 1–8); then on-beat but with six accents in the right hand against four in the left (bars 9–12); and finally both hands staccato with no accents.
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Li draws influences from rock, all subgenres of metal as well as video game music and often mimics sounds from popular retro games from the late 80s, early 90s arcade, and PC games. For example, Li has been known for making several Pac-Man-like noises in the song "Through the Fire and Flames" on Inhuman Rampage. His playing style consists of fast descending and ascending legato and staccato licks, exotic scale runs, making extensive use of the harmonic minor and Phrygian dominant scale, extreme use of his whammy bar, quick full ascending and descending sweep picking arpeggios, alternate picking and two-handed tapping on the higher frets as well as incorporating many other shred guitar style techniques. Recently, he has started to use a device called the Hot Hand that sits on his right hand like a ring, which causes extreme vibrato when shaken, giving him a greater capacity to emulate certain video game sounds.
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He observed the crowds gathering around the stage door for the tenor's arrival and remarked on how most of the waiting audience members "were breathless over the chance to see Placido Domingo, a star who draws the kind of rapt devotion that Mick Jagger inspires among rock fans." Backstage at the Washington National Opera after the opening night of Idomeneo on 3 November 2002 For the opening night of the following Met season, Domingo returned to the role of Wagner's Lohengrin, which he had last sung in early 1968. He had originally dropped the role from his repertoire after he felt his voice had been temporarily damaged by learning the challenging opera. The New York Times noted that the now more mature artist "lacked the chrome-plated, penetrating quality that one associates with German tenors", but praised him for bringing "an unusual legato grace to a role that is seldom sung so beautifully".
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If you're a fan of the blues and haven't yet heard Wilson T. King's soulful sounds, you're sincerely missing out. : The many tricks that Wilson T. King pulls out of his bag are seemingly endless; the bluesy howls, the serene legato passages, the Hendrix-like hypnosis he seems to go into, the slide guitars and the dynamic and temporal extremes; this record has a lot to offer a wide range of blues-rock fans. : Although no tour dates are evident as of now, it won't be long before fans demand live performances and even a world tour from Wilson T. King; this kind of magic can't stay bottled up for long, nor should it. : Follow Your First Mind earns and A- for an originality, something that is far too scarce these days in any genre, while at the same time displaying an uncanny ability in the art of tasteful mimicry that pays homage to the greats like Hendrix, SRV, B.B. King, and many others.
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Early clavichords frequently had many notes played on each string, even going so far as the keyed monochord—an instrument with only one string—though most clavichords were triple- or double-fretted. Since only one note can be played at a time on each string, the fretting pattern is generally chosen so that notes rarely heard together (such as C and C) share a string pair. The advantages of this system compared with unfretted instruments (see below) include relative ease of tuning (with around half as many strings to keep in tune), greater volume (though still not really enough for use in chamber music), and a clearer, more direct sound. Among the disadvantages: temperament could not be re-set without bending the tangents; and playing required a further refinement of touch, since notes sharing a single string played in quick succession had to be slightly separated to avoid a disagreeable deadening of the sound, potentially disturbing a legato line.
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Stiefler is president of Stiefler Law Group and Transmedia Multiverse. She has represented authors and public figures including Dr. Jill Bolte Taylor, Dr. Mimi Guarneri,Cheating on your doc? MSNBCBeyond Your Genes:The Journey to Optimum Health and Wellness Dr. Marianne Legato,The Weaker Sex 2006/06/17 Dr. Andrew Baldwin, Dina Babbitt, Sylvia Earle, Mary Mazzio, the independent film company 50 Eggs,50 Eggs Productions website and its film TEN9EIGHT,Ten9Eight which tells the story of kids from low-income communities who discovered the power of entrepreneurship,Practically Speaking - Capturing the Dreams of Young Entrepreneurs on Film - The New York Times and The Apple Pushers,The Apple Pushers which highlights the issue of food deserts and chronicles the lives and livelihoods of immigrant street vendors who are micro-entrepreneurs, rolling carts of fresh fruits and vegetables into poor neighborhoods where obesity rates were skyrocketing,Making The Apple Pushers The Atlantic Anne McCaffrey among others.
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Letting the first finger take the first-position place of the third finger brings the player to third position, and so on. A change of positions, with its associated movement of the hand, is referred to as a shift, and effective shifting maintaining accurate intonation and a smooth legato (connected) sound is a key element of technique at all levels. Often a "guide finger" is used; the last finger to play a note in the old position continuously lightly touches the string during the course of the shift to end up on its correct place in the new position. In elementary shifting exercises the "guide finger" is often voiced while it glides up and down the string, so the player can establish by ear whether they are landing in the correct place, however outside of these exercises it should rarely be audible (unless the performer is consciously applying a portamento effect for expressive reasons).
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Whitney Balliett stated that Flanagan was the most consistent of the pianists influenced by Wilson, Tatum and Cole, and invariably created something new in his playing: he "often states the melody with dissonant, levering chords played offbeat or staccato. Never decorative, they [...] reveal both a respect for the melody and an intense desire to alter it"; during his main improvising, he used "interval-filled descending figures [...] charging rhythmic phrases whose accented first notes make the succeeding notes snap, double-time phrases that race ahead to clear the way, and legato phrases that form sauntering rear guards." In a review of a 1989 concert, Feather commented that Flanagan used "subtle dynamic shadings", while "bursts of upsweeping chords sometimes lent an element of surprise, with a nimble left hand offering graceful filigree fills" and occasional musical quotes that added humor.Feather, Leonard (August 14, 1989) "Jazz Review: Flanagan, the Musicians' Musician, Draws a Full House".
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1–2 minutes Opening of the finale The short finale, marked Presto and in time, is a perpetuum mobile in "relatively simple" binary form consisting of parallel octaves played sotto voce e legato (similarly to the Prelude in E minor, Op. 28 No. 14) and not a single rest or chord until the final bars with a sudden fortissimo B bass octave and a B minor chord ending the whole piece. In this movement, "a complicated chromaticism is worked out in implied three- and four-part harmony entirely by means of one doubled monophonic line";Rosen (1995), p. 298 very similarly, the 5 measures that begin Bach's Fugue in A minor (BWV 543) imply a four-part harmony through a single monophonic line.Rosen (1995), p. 290 Garrick Ohlsson remarked that the movement is "extraordinary, because he’s written the weirdest movement he's ever written in his whole life, something which truly looks to the 20th century and post- romanticism and atonality".
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David Sanborn, 2008 In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "quiet storm" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade, as well as saxophonists including Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 beats per minute), and has a lead melody- playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular). In his Newsweek article "The Problem With Jazz Criticism", Stanley Crouch considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating: > I challenge the prevalent marginalization and malignment of smooth jazz in > the standard jazz narrative.
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Despite this, they still reveal Melba to have had an almost seamlessly pure lyric soprano voice with effortless coloratura, a smooth legato and accurate intonation. Melba had perfect pitch; the critic Michael Aspinall says of her complete London recordings issued on LP, that there are only two lapses from pitch in the entire set. Like Patti, and unlike the more vibrant-voiced Tetrazzini, Melba's exceptional purity of tone was probably one of the principal reasons why British audiences, with their strong choral and sacred music traditions, idolised her.Riding, Alan. "Recordings: From a Vault in Paris, Sounds of Opera 1907", The New York Times, 16 February 2009 HMV advertisement for Melba recordings (1904) Melba's farewell to Covent Garden on 8 June 1926 was recorded by HMV, as well as broadcast. The programme included Act 2 of Roméo et Juliette (not recorded because the tenor Charles Hackett was not under contract to HMV), followed by the opening of Act 4 of Otello (Desdemona's "Willow Song" and "Ave Maria") and Acts 3 and 4 of La bohème (with Aurora Rettore, Browning Mummery, John Brownlee and others).
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Auctore Vincentio Bacallario, & Sanna, sardo calaritano, marchione S. Philippi, regio conciliario, & ad potentissimos foederatorum belgii ordines regis legato, Genova, 1725; Los dos Tobias, historia sagrada, escrita en 500 octavas rimas castellanas, Madrid, 1746; Monarchia hebrea, Nueva edición corregida de muchos errores, y sobre el expurgatorio del Santo Oficio: añadida con dos disertaciones del r.p. A. Calmet, Madrid, Ramírez, 1746; Memoires pour servir a l’histoire d’Espagne, sous le regne de Philippe V, Amsterdam, Z. Chatelain, 1756; Memorias políticas y militares, para servir de continuación a los comentarios del Marqués de S. Phelipe desde el año de 1725..., Madrid, F. X. García, 1756; Comentarios de la guerra de Espana e historia de su rey Felipe V el animoso, edición y estudio preliminar de C. Seco Serrano, Madrid, Atlas, 1957; El arte del reynar: dirigido al senor rex Luis Primero, por el marqués de San Felipe in Semanario erudito..., Madrid, Don Blas Roman, 1987; The latter was one of the founders of the Royal Spanish Academy and worked on the drafting of the first dictionary of the Castilian language.Diccionario de la lengua castellana ecc.
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Holzmair's high, rather light timbre is particularly suitable for songNick Kimberley The Anatomy of Melancholy 1993 and in 1989 a highly successful debut at the Wigmore Hall launched his international recital career.Michael White Sing a Song of Silence 1993 His clear and expressive language embedded in a pure legato line, and his dramatic commitment, have been especially commended. The English music critic Alan Blyth was immediately struck by the baritone’s first recording of Schubert's Die Schöne Müllerin and remained a firm advocate; more recently Richard Fairman referred to an exceptional ability to communicate the rhythms and meanings of poetry. He has worked with many pianists of note, a long-standing collaboration with Imogen Cooper being widely admired for its exceptionally close rapport;Colin Clarke on the Holzmair/Cooper partnership in Wolf, in Musicweb International 2011 Review of re-issue of Holzmair/Cooper Schubert song cycles, 2005 other partners include Andreas HaefligerRob Pennock on Holzmair/Haefliger's Winterreise, in Classical Source 2009 and Philippe CassardPhilippe Cassard Web site as well as dedicated accompanyists Gerard Wyss, Russell Ryan and Roger Vignoles.
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Recently, the development of Serial ATA (SATA) disks has created a significant market for three-stage HSM: files are migrated from high-performance Fibre Channel storage area network devices to somewhat slower but much cheaper SATA disk arrays totaling several terabytes or more, and then eventually from the SATA disks to tape. The newest development in HSM is with hard disk drives and flash memory, with flash memory being over 30 times faster than disks, but disks being considerably cheaper. Conceptually, HSM is analogous to the cache found in most computer CPUs, where small amounts of expensive SRAM memory running at very high speeds is used to store frequently used data, but the least recently used data is evicted to the slower but much larger main DRAM memory when new data has to be loaded. In practice, HSM is typically performed by dedicated software, such as IBM Tivoli Storage Manager, Oracle's SAM-QFS, Versity Storage Manager, Quantum, Novell's Dynamic Storage Technology (DST) on Open Enterprise Server (OES) Linux Platform, HPE Data Management Framework (DMF, formerly SGI Data Migration Facility), StorNext, or EMC Legato OTG DiskXtender.
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The headstone of Teresa and Robert Shirley in the Santa Maria della Scala She had the headstone inscribed: > Deo Optimo Maximo Roberto Sherleyo Anglo Nobilissimo Comiti Cesareo Equiti > Aurato Rodulfi II Imperatori Legato Ad Scia Abbam Regem Persarum et Eiusdeum > Regis Secundo Ad Romanos Pontifices Imperatores Reges Hispaniae Angliae > Poloniae Moscoviae Mogorri Aliosque Europae Principes Inclito Oratori. > Theresia Sampsonia Amazonites Samphuffi Circassiae Principes Filia Viro > Amatissimo et Sibi Posuit Illius Ossibus Suisque Laribus In Urbem E Perside > Pietatis Ergo Translatis Annos Nata LXXIX MDCLXVIII (Translated as "To God, the Best and Greatest. For Robert Sherley, most noble Englishman, Count Palatine, Knight of the Golden Spur, Emperor Rudolph II's envoy to Shah Abbas, the King of Persia, (and) the representative of the same King to the Popes of Rome, to Emperors, to the Kings of Spain, England, Poland, Muscovy, and the Mogul Empire, distinguished ambassador to other European princes. Theresia Sampsonia, native of the land of the Amazons, daughter of Samphuffus, prince of Circassia, set up [this monument] for her most beloved husband and for herself, as a resting place for his bones—brought to Rome from Persia for dutiful devotion's sake—and for her own, aged seventy- nine. 1668.").
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