I'd say they're better written songs, melodically, lyrically and musically.
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I've always loved how simple the song is melodically and lyrically.
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The Queen's English is dying out -- if not grammatically, then melodically.
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The songs were slight but polished, restrained but melodically and structurally advanced.
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"George was thinking harmonically and melodically with the taxi horns," he said.
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So, noisy and sonically interesting, but music that isn't harmonically or melodically pleasing.
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The music was good but there was nothing special about the songs, melodically.
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When asked, she can rattle off all of these melodically, without missing a beat.
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The context of gameplay encourages compositions that are melodically specific, sharp-edged, and hummable.
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The instrumentation, and intensity, builds beautifully; melodically, there's a country-meets-Broadway mood at play.
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The record features all original tunes, from melodically arresting contemporary jazz to gospel-tinged balladry.
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"I'm so voting for you," sang one woman, jangling her keys in the air melodically.
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My grandmother hovers over the stove flame, fanning it as she melodically hums Kikuyu spirituals.
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The use of effects and the way they melodically contributed to the music was a revelation.
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Melodically, aesthetically, I was really trying to avoid the score attracting any undue attention to itself.
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Lucky for them, we've tapped a resource who can ease first-timers in mentally and melodically.
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This album has a lot of pastiche, but also the most melodically direct songs you've released.
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Melodically, these songs accentuate flamenco's Arabic influence; rhythmically, they hop and soar despite their delicate complexity.
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Post Malone is a melodically gifted misanthrope with a voice that always sounds like it's running away.
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She was doing runs on the fretboard, and she was moaning melodically, with them and against them.
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The melodically independent sections are unified by running around each other and within each other like an echo.
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I have to try to make myself not write melodically, so in some ways, we were removing barriers.
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A MINUS Neko Case: Hell-On (Anti-) Lyrically and melodically, Case has never been more accessible or accomplished.
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These are masterfully constructed songs that wrestle with themselves lyrically as much they burrow into the listener melodically.
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"You want it to mean something, but you want it to fit percussively and melodically as well," says Mayberry.
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Off the cuff, I could say "Life Goes On" for how melodically demanding and [perfectly articulate] the rap is.
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She sounds world-weary and wise; melodically reciting the lyrics as if the events have really happened to her.
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Michael Lovett, released one of the finest records of the year: Infinite Summer is synthy, sexy, nerdy, and melodically divine.
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The language of her script, which combines Shakespearean pastiche with Pirandellian philosophizing and latter-day jokiness, doesn't always flow melodically.
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" He added, "The musical language is not simple for Western listeners because it is harmonically and melodically from another place.
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It's a little bit left of center pop, but it still feels pretty accessible to me, especially melodically and production-wise.
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Mr. Hiseman was a nimble, hard-hitting player who tuned his drums melodically and kept an improvisational spirit through complex pieces.
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Melodically, it's a standard blues chord progression, but that's not the way it feels; it's too cheerful, too mechanical, too technologically savvy.
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Sonically, lyrically, melodically, it's the culmination of what I personally had been trying to achieve with Frightened Rabbit since Sing The Greys.
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A simple G major arpeggiated chord played expressively on the cello opens a short, but harmonically and melodically rich, 42 measures of music.
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On the other hand, how striking it is that the bloat of the day can sound this strange, this melodically unhinged, this rhythmically unlikely.
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Montreal producer Kaytranada laces the versatile and melodically inventive Compton rapper Buddy with a tropical dance groove on their immensely enjoyable "World of Wonders."
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They sing loudly and melodically, have developed an elaborate language, and can swing from branch to branch at speeds of up to 35 mph.
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He's recentered the band's urgency from its head-rush musical intensity to Mr. Johnson's voice, which is clearer and more melodically driven than before.
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The Toronto band Alvvays made a big impression on those who heard its 2014 debut — an instant classic of tenderhearted, melodically rich indie-rock.
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Over the course of ten tracks, U-zhaan's dextrous hand-drumming weaves melodically through Hasunuma's florid electro-tapestries, making vibrant quiltworks out of minimal pieces.
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It forces you to really believe in the idea you have melodically, rather than washing everything in reverb or playing with delays or using tricks.
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McCoy's blackened jangle opened up to melodically rich tremolo, and the influences they wielded finally gelled into something breathtaking, greater than the sum of its parts.
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"He raps very fast and very melodically, and very percussively, and it helped me get rid of the stutter," he said in a speech in 2015.
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But they've been inveterate experimenters, pulling from all of this and more while making sounds that can be hard to find a handhold on—rhythmically or melodically.
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Mitski: Be the Cowboy (Dead Oceans) Fourteen structurally cunning, melodically engaging, verbally coherent songs that for a compact 33 minutes address romantic angst from a disquieting angle.
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But on headphones, home speakers, and the radio, God, it's just overwhelming how gorgeous and cool and sexy and fucking smart and physically masculine and melodically feminine.
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The songwriting skill has improved in the sense I can master how the lyrics are delivered with my voice or how they're set melodically, which changes the meaning.
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" Badgley wore a black turtleneck, black pants, and beige Converse high-tops, and he spoke in Joe's melodically persuasive voice: "This is the whole strangeness of the show.
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They released their self-titled debut album by surprise on Wednesday night, shortly after performing melodically breezy but lyrically morbid "Dylan Thomas" on The Late Show With Stephen Colbert.
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Young Dolph is a Gucci-cosigned, Memphis, Tennessee rapper who stands out for his more straightforward and blunt delivery in the current industry field of super melodically inclined rappers.
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Because that bridge wouldn't have happened were it not for the melody change, because it makes more sense melodically, you can hear the intensity and the ability to get there.
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Regina Spektor: Remember Us to Life (Deluxe Edition) (Sire) Let's speculate that marriage, motherhood, and turning 35—a big one that can sandbag you—are all on her melodically fertile mind.
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We just got our songwriting chops melodically and lyrically as time went on, while still keeping the essence of the band—the distortion, the heaviness—mixed in with these poppier elements.
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It's melodically unresolved, only worming deeper inside of increasing layers of fuzz and eerie Auto-Tuned croons from Kaytranada, whose rare appearance in front of a microphone only adds to the dislocation.
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Through the years, Talons' has always approached the present with dense narrative, meticulous field recordings, and crafty tunings and production to build something as infinitely complex as it is gloriously, melodically comforting.
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Hearing Bandwagonesque, it not only scratched that itch of like, 'This is familiar to me: melodically familiar, structurally familiar, the harmonies feel familiar', but at the same time, it has this energy to it.
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" And even in more laid back songs like this year's "Watch Me," she melodically suggests "Don't worry 'bout my past, bitch/ 'Cause every move I make, I make it better than the last, bitch.
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Despite flip studio asides that initially suggested a lackadaisical recording atmosphere — idle studio chatter, scrapes of errant guitar effects — the effort was the band's most melodically tight album since "A Ghost Is Born" in 2004.
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Although the sixth studio album from Bey tackled broader themes of Black liberation and female empowerment, it captured listeners as a tell-all in which she melodically grappled with the aftermath of her husband's infidelity.
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Whether it was seeing their music videos on MuchMusic, hearing their melodically-inclined anthems rule rock radio, or even just catching them headlining a summer festival, Sloan were the most seminal band of their generation.
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While the track is texturally and melodically upbeat, Potter compliments it with something like the demented version of an animated kids show, suggesting that things are more complex than its happy-seeming surface would suggest.
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"The Git Up" has just arrived at No. 1 on the Billboard Hot Country Songs chart, an unexpected turn of fate given that the song is, well, if not exactly rapped, at least melodically spoken.
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I thought it was the perfect merge with what I do melodically and rhythmically, and we were able to feed off each other to the point where we almost finish off each other's sentences—creatively.
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Although the genre's repeated keyboard loops have, melodically, always cultivated a forbidding tone, hip-hop aesthetes accustomed to hearing aggressive Southern rap as party music will have to adjust before hearing the pain in Future's voice.
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Superficially, American Teen sounds similar in its cautious tempos and textural thinness, but the songs are pithy, hooky, and melodically simple, and as such the cascading electrobeats and soft-edged keyboards radiate warmth, a pale glow.
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Two of their songs released in 1978—"(My Baby Does) Good Sculptures" from the Rezillos' Can't Stand the Rezillos and "Jenny" from the Lurkers' Fulham Fallout—dwelled melodically on love while delivering a vicious punk kick.
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It's subversive but accessible; melodically unusual but still clobbers you over the heart enough times to warrant a special place in it; assertive but still relatable for those of us who haven't quite got there ourselves yet.
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Then, in the construction of the whole thing, melodically and aesthetically, as things develop, someone who has seen the whole thing will notice that, by the end, the different sonic imagery and themes have all revealed themselves.
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You can choose to view this stuff as totally insignificant to the work, given that it's totally wordless and melodically abstract, but there really is this sense of heightened reality in the unearthly glimmers of Zhang's compositions.
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Melodically, she writes long, tangled tunes whose skewed harmonies and delayed resolutions take some getting used to, as does the way she leaves room for verbal/metric overflow, regularly slipping extra words, phrases, sentences into her lines.
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The record clocks in at 35 minutes—only a few minutes longer than their first two jangly, hype-making EPs, The French Press and Talk Tight—but its a step up from both of those lyrically and melodically.
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Mr. Johnston was an unusual avant-gardist: His music was so melodically engaging, rhythmically vital and structurally transparent that listeners who were unaware of his tuning experiments and their complex theoretical underpinnings heard his works as essentially neo-Romantic.
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Costello, a card-carrying member of the Fab Four fan club in his youth, couldn't resist nudging McCartney towards the sound he had helped engineer: intricate sky-high harmonies, splashes of shimmering guitars, melodically adventurous bass lines — and that tune.
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I'm kind of obsessed with this image of Max playing these peaceful melodies to himself, layering one precisely over the next, thinking of music both horizontally (melodically) and vertically (harmonically) as we would when writing out counterpoint compositions on staff paper.
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Although the band has gone through a few lineups over the years, mostly with touring musicians, until now it has always been Pierce and Graham, bosom buddies playing the most melodically bittersweet indie pop the world has heard in its post-Smiths times.
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Lil Durk 2X, the follow-up, is almost a complete 180, an album that returns Durk to his place in the conversation as one of the artists who helped kickstart the resurgence of Auto-Tune and the trend of melodically driven rap songs.
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What a tribute, it seems, that her evocative character sketches and laments for doomed love — melodically unpredictable, literary, convoluted and mostly lacking catchy pop refrains — should have remained so familiar, and that they should still strike us as so beautiful, smart and inventive.
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As melodically winning as his "Radio Rewrite" (2012, inspired by Radiohead) and more structurally intriguing than "Pulse," from 2015 (which, like "Music for Ensemble and Orchestra," features a prominent part for electric bass), this is no ripping up of Mr. Reich's rule book.
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"Harmonically and melodically, those songs are all very much of their period: late 1930s, early 1940s," explained the orchestrator Martin Lowe, who had worked with Mr. Tiffany on "Once" and was tasked with turning the animated film's small repertoire of classics into a full score.
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Every section builds melodically on the next, including the rapped middle verse, hitting a peak of agony in the bridge ("Electrical/ when I'm with you/ but now I know/ that I gotta go") before settling back down to a more moderate level of dejected longing.
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The year's most promising pure pop album is from a painstakingly detail-oriented, emotionally wrenched, melodically ambitious soul and funk savant who's just now, a couple of years into his run in the limelight, learning how to squeeze the most arresting of sentiments from the rawest of arrangements.
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And if cultural domination is what Superfood had in mind for "Unstoppable," they've given it a pretty good shot: infectiously energetic and melodically irresistible, it's not only an excellent teaser before the album's release on Friday, but more importantly, it's also a hymn for sesh gremlins on buses the country over.
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We tried to record it but the folk thing didn't make sense to me for this record and so when we started making the record we revisited 'Jealous Sea' and it was lyrically such an important song to me, melodically too...We just made it really dark, we changed some of the lyrics around.
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There are many, many good jokes, the performers all seem to be enjoying the ridiculous bits offered them (Justin Timberlake plays a personal chef who devotes what culinary genius he has to slicing carrots very carefully) and the songs are both melodically catchy and clever in their abject puerility: My apple crumble is by far the most crumble-est/ But I act like it tastes bad out of humbleness.
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The young country star Kane Brown brings adds an earthy sincerity to Khalid's soothing delivery of angst on this remix of "Saturday Nights," and Juice WRLD drizzles his melodically sweet melancholy on Halsey's impressively stern scold "Without Me." JON CARAMANICA Adia Victoria, a songwriter from South Carolina who's now based in Nashville, offers a terse taxonomy of breakups in "Different Kind of Love," from her second album due next month.
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Sean Holio from Cooltry said the song is "melodically charming".
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They are melodically simple, restricted in range, and have strong tonal centres.
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Raw, but melodically complex. I love Kristeen. So much. I've never met anyone like her.
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693 The turnaround may lead back to this section either harmonically, as a chord progression, or melodically.
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"I have tried to play melodically for about ten years now....If a drummer must play an extended solo, he should think more about melodic lines than rudiment lines", he wrote in 1955 in his Down Beat article (see "External links"); also discussed in Gioia, pp. 270-71. He contrasted his style with that of Max Roach: "Max plays melodically from the rhythms he plays. I play rhythms from thinking melodically".Quoted from an interview with radio jazz- show host Sleepy Stein.
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According to Billboard and Spin, the song has a slow-moving trap beat and melodically bears a resemblance to Post Malone's 2015 song "White Iverson".
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It is a melodically indeterminate piece; this means there is no key and no defined melody."Andriessen, Louis." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy.
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Nettl describes Inuit music as recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.
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Sharrock cited Guitar as the first time he was able to play both powerfully and melodically in the same way saxophonists John Coltrane and Albert Ayler had late in their careers.
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They are analogous to the Gregorian Introit. Alleluias appear in every Mass except the Masses of Holy Week. Most of them share a single melody. Offertories and Communions are melodically more simple.
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Allmusic's Scott Yanow said: "This little-known effort is better than some of Charles Lloyd's infrequent projects of the 1970s, for he sticks to tenor and interprets eight standards melodically and with taste".
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I've always been doing mountain music in the way I write melodically - it's my natural writing inclination.” In the coming years Yoakam would record more bluegrass as he became identified with the Americana genre.
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The song is a 12-bar blues, musically similar to Berry's very popular and recognizable song "Johnny B. Goode", and melodically identical to his song "Little Queenie", the latter of which was released shortly after, in 1959.
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As the title suggests, Rod Wave melodically fantasizes about the woman of his dreams, sing-rapping about what he sees in her. The instrumental of the song, produced by Ace Lex, contains a sample of "Bullet" by Tula.
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"Motherless Child Blues" (or, in dialect, "Motherless Chile Blues") is the name of two distinct traditional blues songs. They are different melodically and lyrically. One was first popularized by Robert "Barbecue Bob" Hicks, the other by Elvie Thomas.
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This illusion was in Nielsen's repertoire for decades as his trademark trick. Nielsen developed other aspects of his musical act, including a flute that disintegrates into silver dust and coins that are dropped melodically onto a vertical xylophone.
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Omerta combined synths, strings, bleeps and beeps, cutting guitar, and a solid rhythm section to create music that engaged both melodically and lyrically delivered by a heart-rending vocal. Their sound drew comparisons with Radiohead, Interpol, and The Killers.
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Melodically, Prostopinije resembles Znamenny Chant, and is closely related to it historically.Prostopinije at the page of Metropolitan Cantor Institute (www.metropolitancantorinstitute.org) But it is considerably richer with chromatic movements, reflecting its relative closeness to the Bulgarian branch of the Byzantine tradition.
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Characteristics of Inuit music include: recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.Nettl, Bruno (1956). Music in Primitive Culture, p.107. Harvard University Press. .
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This "list" style of song is characteristic of many of Dave Couse's songs. The majority of the lyrics are declaimed rather than sung, over a repetitive electric guitar motif. Melodically, the song features a quotation from Beethoven's Fifth Symphony in the chorus.
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Smith grew up desiring to be an athlete, but ultimately turned down a full-ride track- and-field scholarship to Kent State University to pursue music, producing energetic and melodically vibrant electronic dance music as Crankdat. Smith began making music while still in high school.
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Uncut magazine called it "one of the most melodically seductive and exhilarating records of recent times".White, Michael. "Bands on the run", The Globe and Mail, 2001-02-12, p. R4. The band also received positive reviews in Pitchfork Media, Spin, The Guardian, and XLR8R.
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Microtonalists have extended the concept of otonal and utonal to apply to all just intonation chords. A chord is otonal if its odd limit increases on being melodically inverted, utonal if its odd limit decreases, and ambitonal if its odd limit is unchanged."Otonality and utonality", Xenharmonic.wikispaces.com.
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This decision was as much musical as it was textual. Stravinsky's counterpoint required several musical voices to function simultaneously, independent melodically and rhythmically, yet interdependent harmonically. They would sound very different when heard separately, yet harmonious when heard together.Sachs and Dahlhaus, New Grove (2001), 6:564–569.
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Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concerto piece possible.
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The slow movement, marked "Andante con moto" (♪= 84), is "melodically vocal in idiom and pianistically luxuriant" (Mellers). The opening theme, in B-flat major is a gentle tune. There are further echoes of Gluck, with a quotation from his "Dance of the Blessed Spirits".Mellers, p.
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Amanda Ash of Exclaim! praised the album as "melodically diverse and incredibly easy to sink into" and wrote that the songs are "perfectly manicured soundscapes". François Marchand of the Vancouver Sun gave the album a favorable review, stating that it is a "fine and poignant indie-pop record".
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It is used both melodically and rhythmically, for example as a door knock. "Two bits" is an archaism in the United States for 25 cents; a quarter. "Six bits" is occasionally used. The final words may also be "get lost", "drop dead" (in Australia), or some other facetious expression.
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This type of bass line has a specific alignment to clave, and contributes melodically to the composition. Rodríguez's brother Raúl Travieso recounted, Rodríguez insisted that his bass players make the bass "sing."Raúl Travieso quoted by David García 2006. Arsenio Rodriguez and The Transnational Flows of Latin Popular Music p. 43.
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Whereas the sheng is used to provide simultaneous tones in harmony (in fourths and fifths), the yu is played in single lines melodically. The instrument was used, often in large numbers, in court orchestras of ancient China (and was also exported to Korea and Japan) but is no longer used.
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In Beethoven's Fifth Symphony a four- note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main theme of the first movement. Two note opening motive from Jean Sibelius's Finlandia.White (1976), pp. 26–27. Machaut's Mass, notable for its length of seven notes.
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Because the bodhrán typically plays 16th notes (Kerry style), a great deal of variety can be introduced by these syncopations and the use of rests. Combined with manual pitch changes and naturally occurring tonal variations in an animal skin drumhead, the bodhrán can almost sound as melodically expressive as other non-percussive instruments.
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Allmusic awarded the album 4½ stars stating "Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically. ... the interplay between Desmond and Mulligan is consistently delightful. Highly recommended".
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Letellier, p. 249 Traubner observes that many critics rate Lecocq higher than Offenbach as an orchestrator and harmonist, although melodically he did not rival the "startling immediacy" of Offenbach's tunes.Traubner, p. 81 Lecocq disliked being compared to Offenbach, and went out of his way to avoid rhythmic devices familiar from the older composer's works.
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The song received favorable reviews from most music critics. AllMusic editor MacKenzie Wilson said the song is "melodically enchanting with loopy trance vibes and textured synth waves". He noted Hawkshaw's "dove-like vocals transcended into freewheeling soundscapes". Larry Flick from Billboard wrote that this "quirky dance act" has made a "near-perfect, radio-friendly ditty".
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The first statement of the theme is melodically pruned down, so that the quaver figure in the response gives the impression of a variation. This warm- hearted and solid movement was added at a later stage by Handel, perhaps because it provided a more effective way to end the concerto than the brilliant fifth movement.
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A slow air is a type of tune in Irish traditional music, marked by the absence of strict metre or structure, melodically "open ended" and generally derived from the melody of a sung song but instead played on a solo melodic instrument. The melodies are often drawn from the sean-nós solo singing tradition.
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Richard Strauss utilized the invention of the Dresden foot pedal in his music to write more melodically for the timpani. The impact of the Dresden timpani on composers could be seen in Giuseppe Verdi's opera Otello (1887). The timpani part in Act 1 would not be possible to play without the use of at least three pedal timpani.Giuseppe Verdi.
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Box drums, which are found elsewhere, are common, as is a tambourine-like hand drum. Nettl describes "Eskimo" music as some of the simplest on the continent, listing characteristics including recitative-like singing, complex rhythmic organization, relatively small melodic range averaging about a sixth, prominence of major thirds and minor seconds melodically, with undulating melodic movement.
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The Spitfire Grill is a complete work of theatrical resourcefulness. A compelling story that flows with grace and carries the rush of anticipation. The warm, indigenous American folk sound of Mr. Valcq’s score is, harmonically and melodically, as theatrical as it is grass roots. Mr. Alley’s lyrics accomplish the considerable feat of poetically offering inspiration while holding the syrup.
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Lutosławski's works up until and including the Dance Preludes clearly show the influence of Polish folk music, both harmonically and melodically. Part of his art was in transforming folk music, rather than quoting it exactly. In some cases, folk music is unrecognisable as such without careful analysis, for example, in the Concerto for Orchestra.Stucky (1981), p.
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Although he did not specified which instruments would play, most of his compositions have obbligato parts labeled vox instrumentalis. They also have a basso continuo. However, few if any figures are included to indicate the nature of the chords. Melodically, the basso continuo always follows the bass tone and thus rather takes on the character of a basso seguente.
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Sarafa's work as a writer and columnist for Blackbook, Arte Fuse, GreenandSave, the Village Voice, NYArt Beat, Scallywag & Vagabond resulted in her founding Fractyll Culture Magazine. Based on the notion that ‘culture is a fractal’, whose various spokes melodically amount to literature, travel, art, fashion, health, race and music, it underscores industry pioneers, red carpet events and grassroots movements.
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The development comprises the bulk of the piece. Here the composer develops the subject by writing variations either melodically or harmonically. This usually involves the alternation of episodes with statements of the theme, similar to the development of a fugue. In minor- and major-mode inventions, the theme is typically restated in the relative major and the dominant, respectively.
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The opening material is quite different from the primary theme in symphonies by Mozart and Haydn. First, the opening material is not highly melodically recognizable and easy to grasp for the audience. One could call it primary key area instead of the primary theme. It is in highly learned style with a lot of sequential passages.
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As large a challenge for Tchaikovsky as his Russian creative mentality was also his greatest compositional gift--namely, his own sense of melody. For him, however, the problem was two-fold. The first part stemmed, again, from his ethnic heritage. Brown points out that Tchaikovsky, like the majority of 19th-century Russian composers, was highly gifted melodically.
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He found his flow melodically and rhythmically dense yet deft and effortless, while deeming his narratives both intimate and universal, touching on familial duties, the violent crime in Chance's native Chicago, and being an independent artist in the modern music industry era. In the opinion of Slate journalist Jack Hamilton, Coloring Book was "the first true gospel-rap masterpiece".
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The record was noticeably bluesier and more downcast (both melodically and lyrically) than any of Prince's previous singles, addressing various socio-political problems including AIDS, gang violence, natural disasters, poverty, drug abuse, the Space Shuttle Challenger disaster and impending nuclear holocaust. This record showcased Prince's ability to merge classic and modern rhythm and blues characteristics into one song.
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For example, a bridge features frogs croaking melodically. The band reportedly included them because Morris loved the effect and was looking for any excuse to use it. At the end of the track, the faint bleating of a (synthesized) sheep can be heard. Sheep samples would reappear in later New Order singles "Fine Time" and "Ruined in a Day".
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Vibe deemed it a "sunny, playful take on the airing of grievances". The Hollywood Reporter wrote that the "melodically rich number" has "sardonic humor". The Daily Review wrote that any Australian thinking about the possibility of a republic will thoroughly enjoy King George's "bemoaning" of the revolutionary war. The New York Times deemed it "sneering yet wonderfully breezy".
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"Taxloss" alludes melodically and lyrically to The Beatles' song "Taxman", and also to the rhythmic feel of "Tomorrow Never Knows", as well as "Long Haired Lover from Liverpool" by Little Jimmy Osmond. The video notoriously featured the band throwing £25,000 in five-pound notes onto the main concourse of London's Liverpool Street station during rush hour and watching the ensuing chaos.
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A cluster of four home made octobans. Octobans, also known as tube toms, are deep, small diameter, single-head tom-toms. Octobans were originally grouped in melodically-tuned sets of eight, hence the name, in reference to octave and from octo meaning "eight". Part sets of two or four drums or an individual drum or octo are common additions to a drum kit.
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Various types of vehicle horns are used by percussionists as sound effects, or even melodically, in musical works. For example, George Gershwin's 1928 orchestral work An American in Paris calls for the use of 4 taxi horns. György Ligeti's opera Le Grand Macabre features two "Car Horn Preludes" scored for 12 bulb horns, each one tuned to a specific pitch.
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This is an example of Traditional African Harmony by imitation. The melody here plays a phrase in the first measure and sequences it melodically in the second measure. The second voice (in the bass clef) imitates the melody in the first measure. As a result, singing both the new phrase and original phase at once creates harmony between the parts.
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Its inversion is the major seventh (M7 or Ma7). . Here, middle C is followed by D, which is a tone 100 cents sharper than C, and then by both tones together. Melodically, this interval is very frequently used, and is of particular importance in cadences. In the perfect and deceptive cadences it appears as a resolution of the leading-tone to the tonic.
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However, in both instances where chord IV and vi appear, Mozart marked these sections piano. These changes produce a pleasant contrast, both melodically and dynamically. Leading straight on from the "Menuetto", the "Trio" provides a complement to the character of this "Menuetto". As indicated by Mozart in the score, the "Trio" immediately follows the "Menuetto" without a moment of silence.
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Pronunciation Bianzhong (pronounced ) is an ancient Chinese musical instrument consisting of a set of bronze bells, played melodically. China is the earliest country to manufacture and use musical chimes. They are also called Chime Bells. These sets of chime bells were used as polyphonic musical instruments and some of these bells have been dated at between 2,000 to 3,600 years old.
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Chants often display complex internal structures that combine and repeat musical subphrases. This occurs notably in the Offertories; in chants with shorter, repeating texts such as the Kyrie and Agnus Dei; and in longer chants with clear textual divisions such as the Great Responsories, the Gloria, and the Credo.Apel, Gregorian Chant pp. 258–9. Chants sometimes fall into melodically related groups.
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The content is predominantly traditional, though the > Everly Brothers' 'Living Too Close To The Ground' is a surprising exception, > and it is easy to see why these songs, melodically strong and lyrically > rich, caught Dickson's attention years ago. Without dismissing the work she > has done in the other three decades of her career, this is Dickson at her > most engaging.
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"Glory, Glory" (also known as "When I Lay My Burden Down", "Since I Laid My Burden Down", "Glory, Glory, Hallelujah" and other titles) is an American spiritual song, which has been recorded by many artists in a variety of genres, including folk, country, blues, rock, and gospel. It is typically very melodically similar to another popular gospel song, "Will the Circle Be Unbroken".
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2008 s. 19 in Norway and abroad. His work includes chamber music, choral works, solo works, concerts, orchestral works, operas and symphonies, as well as works for theatre, film and television. Although often tonal and melodically driven, Paus' music employs a wide range of both traditional and modernist techniques, and several of Paus' works have been influenced by folk music and non-Western classical music.
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The 8-minute-long second movement is very slow and dark music. The movement is presented in ternary form, another neoclassical influence. Harmonically and melodically, it is less traditional and less oriented to the neoclassical style than the previous movement, at times, stretching tonality to the brink of atonality. The movement's three themes are imitated, frequently while another voice has yet to complete its melodic phrase.
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This has the effect of melodically interchanging the development and recapitulation sections while maintaining their harmonic roles. Haydn had previously used this effect in his 75th Symphony. The second movement is a siciliano in with a flowing theme. Because of the movement's origins as a Lire Concerto (which could only play in a few key signatures), this is one of Haydn's more straightforward siciliano movements.
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Exclaim! magazine named Songs for Burning Lovers the Number 2 Punk Album of 2010. Exclaim! writer Keith Carman said, "Detuned and thunderous while still melodically brilliant, gritty and raw, Songs For Burning Lovers is a rapid-fire dose of biting riffs, palpitating beats and pulverizing vocals." The band was later nominated for Punk/Hardcore Artist/Group of the Year at the 2011 Indie Awards.
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This change can be seen on the HMV website.Open (2004), HMV The final track, "Now You're Gone", was originally called "Crying" but was changed before the album was released. The song is included on the Shaznay Lewis Album Sampler which has five songs taken from Open; however, "Mr. Dawg" and "You" are both rough demos different from the album versions both vocally and melodically.
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"Bleed Together" is one of the few Soundgarden songs written in the key of E. Thayil said, "It's a fast, energetic, punk rock type song with a hooky melody. Chris sings aggressively, but definitely melodically—as opposed to screaming—over these fast punk rock chords." Drummer Matt Cameron can be heard visiting the paradiddle for effect on the ride cymbal during the bridge of the song.
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The Romanian melodies have an altogether other character, melodically simple but with more complicated rhythms. The fast hora is played in a straightforward 2:2 or 2:4 rhythm, the sirba in a complicated rhythm. The slow doina resembles the blues in jazz and is often improvised with a rubato background of chords. The Russian melodies are characterized by songs that easily can be remembered.
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While working with Schnapf on Stay What You Are, Conley learned that he was writing songs out of his vocal range. He subsequently learned how to sing notes naturally as opposed to forcing them. Conley's voice subsequently changed for In Reverie. Comparing the material to that of Stay What You Are, Conley described the songs as being "more harmonically intricate" as well as "more complicated melodically".
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Women are an important part of the dance, singing the choruses, joining in the dancing around the central pole, and perform specialized dance steps several times a night at most dances. Dance songs are partially formulaic but include significant amounts of improvisational singing. They are rhythmically and melodically complex compositions. Men accompany the dance with rattles, the only musical instrument used by the Pumé.
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A grace note is a kind of music notation denoting several kinds of musical ornaments. It is usually printed smaller to indicate that it is melodically and harmonically nonessential. When occurring by itself, a single grace note normally indicates the intention of an acciaccatura. When they occur in groups, grace notes can be interpreted to indicate any of several different classes of ornamentation, depending on interpretation.
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In Baghdad from 760-1260, writers spurned musical notation.Classical Music in Iraq Virginia Danielson, Harvard University The music is melodically modal, and moves in a stepwise motion with repeated notes. Use of the lower end of a melodic range is characteristic, as is the use of silence; one listens through the silence. Following a cadence, the singer moves up to the next range of pitches.
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The album's bass lines were written melodically and tend to play parts that avoid focusing on tonic notes. According to Lambert, one of the album's few recurring compositional features that did not reflect a recent trend in Wilson's songwriting were bass lines that descend from 1 to 5. Only four tracks feature a single strongly established key. The rest feature a primary and secondary key or a weak tonal center.
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Nic Kelly from Project U said: "It has that instantly addictive feeling to it. It's simple, understated and melodically perfect." Mitch Mosh from Atwood Magazine, in a review of the EP, wrote: "Originally released as a solo performance, Michaels' presence adds new perspective, harmony and vision to an already-intense song about the fear of cutting loose ends." It was featured in the 2018 movie The Darkest Minds.
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In the modern form, there are sudden tempo changes from the slow introduction to the faster main section of the song. Almost every contemporary mor lam song features the following bassline rhythm, which is often ornamented melodically or rhythmically, such as by dividing the crotchets into quavers: Image:Morlamrhythm.png The ching normally play a syncopated rhythm on the off- beat, giving the music a characteristically quick rhythm and tinny sound.
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The Valse des fleurs is in one movement and has a duration of just under one minute. It is scored for two pianos and is in C major. Both melodically and structurally, it is a very simplistic piece, meant to serve as a piece for practicing piano with his five-year-old son Soulima. It spans a total of three pages, originally written in ink on -by--inch paper.
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'Gabriel Faure plays Pavane, Op. 50, 1913 Welte Mignon recording.'. YouTube. Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style. Fauré was born into a cultured but not especially musical family.
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Notice that > the pattern of slaps in the offbeat phrase are the half-time cross-beats. > The third cycle is truncated when the secondary resolution (B) is played in > measure eight. In most cases the quinto pauses after sounding 3-e and 3-and, > but the tones on beat 4, 4-e, and 4-a melodically connect measure eight with > the lock phrase (A) in measure nine—Peñalosa.Peñalosa (2011: 86).
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The song is approximately five-and-a-half minutes long, and features a 40-second intro with just soft guitar notes and mellow vocals by Grohl.Foo Fighters return with glorious new single "Run" and video — watch consequenceofsound.net. Retrieved June 1, 2017. After the intro, the song erupts into a hard rock sound, featuring heavy, distorted guitar riffs, thunderous drums, and alternating melodically sung and screamed vocals by Grohl.
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The song mainly got positive comments on album reviews. UMusic describes the song: "Like Whoa" starts with soft cooing and transitions into a high energy danceable chorus." Todd Sterling, from Wal-Mart, praises the song: ""Like Whoa," a penetrating, bass driven cut compares the sensation of falling in love with a rollercoaster ride. The song, lathered in slippery keyboard effects and programmed drums, is a melodically layered chunk of pop candy.
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Penn Masala combines various musical traditions, including Hindi film music, pop, hip-hop, R&B;, rock, and Indian classical styles. The group also uses a wide array of languages in their songs. Their compositions are primarily sung in English or Hindi, but certain songs include Arabic, Punjabi, Kannada, and Tamil as well. Penn Masala blends popular songs to create its own independent version, which is melodically and thematically unified.
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1 in the UK – a hit out of the blue. The "La Da Dee La Da Da" bit of this dance track is especially and undeniably catchy. Mainland Europe is next." Music Week commented that "the insidious 'la da dee' chorus can be a little wearing after a while, but there's enough promise in the verses, both melodically and lyrically to suggest that Waters can be a bright new star.
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Although the song was released as a single in 1980, it commercially underperformed with limited chart success, peaking at #75 in the UK. Even so, it is a critically acclaimed heavy metal song, one critic noting that "The Zoo" is both "ominously slow and melodically accessible" with a key element being the "Berlin burlesque vocal melody". On this note, it is used by many strippers in their stage act.
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There is no chorus, with the track being made up of several melodically identical verses. The song begins with an acoustic guitar riff, and builds to include elements such as a saxophone (played by Tony Coe), bass, drums and sound effects such as a cat's meow after the lyric "And the cat just finished off the bread". The single was produced by Del Newman, who would produce all of Protheroe's albums.
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Several Appalachian bluegrass ballads, such as "Pretty Saro", "Barbara Allen", "Cuckoo Bird" and "House Carpenter", come from England and preserve the English ballad tradition both melodically and lyrically. Others, such as The Twa Sisters, also come from England; however, the lyrics are about Ireland.Joseph Jacobs, English Fairy Tales, transcript Some bluegrass fiddle songs popular in Appalachia, such as "Leather Britches", and "Pretty Polly", have Scottish roots.Cecelia Conway, "Celtic Influences".
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The most primitive forms of shepherding folklore are hollos and signals, used to call and calm the animals, and for communication between the shepherds. Frequently they consist of onomatopoeia, such as kir-ga-ga, ralio, ėdro ėdro, stingo, uzz birr, etc. Melodically the hollos are very simple, usually consisting of short motifs composed of thirds and fourths. The recitative-like melodies of shepherds' verkavimai are akin to funeral laments.
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The song melodically and lyrically resembles Lightnin' Hopkins's "Automobile Blues","Wicked Messenger: Bob Dylan and the 1960s" By Mike Marqusee, p. 191 with Dylan's opening line of "Well, I see you got your brand new leopard-skin pill-box hat," echoing Hopkins's "I saw you riding 'round in your brand new automobile," and the repeated line of "...brand new leopard-skin pill-box hat," melodically descending in the same manner of the Hopkins refrain "...in your brand new fast car". The Dylan reference to "the garage door" in the final verse of "Leopard-Skin Pill-Box Hat" may also be an allusion to the automobile of Hopkins's song. In 2013 experimental hip-hop group Death Grips released a song titled "You Might Think He Loves You for Your Money But I Know What He Really Loves You for It’s Your Brand New Leopard Skin Pillbox Hat" named after the last lines in the song.
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Anton Weidinger developed a keyed trumpet which could play chromatically throughout its entire range. Before this, the trumpet was valveless and could only play a limited range of harmonic notes by altering the vibration of the lips; also called by the name of "natural trumpet". Most of these harmonic notes were clustered in the higher registers, so previous trumpet concertos could only play melodically with the high register (e.g., Bach's Brandenburg Concerto No. 2).
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Writing for Billboard, Heran Mamo called the track "a stalled apology and a plea to simmer things down verbally while heating things up physically". Emily Zemler of Rolling Stone described the song as "slick" and "sultry". Alexis Reese of Vibe wrote that "Jeremih takes over the chorus and bridge, melodically singing sweet nothings about tragedy, reconciling and being 'on chill'" and felt that "Wale successfully amplifies his established R&B-rap; vibes".
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Braide was responsible for the vocal production, and commented to Bradley Stern of MuuMuse: "When I was producing her vocals, it was obvious to me why she's still one of the greatest pop stars ever. Unmistakably Britney, effortlessly iconic." Lance Tolbert was responsible for the song's keys. Melodically, "Perfume" is written in the key of E major, and is set in the common time with a moderately slow tempo of 80 beats per minute.
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Voříšek wrote only one symphony, his Symphony in D major, in 1821. Its style has been likened to Beethoven's first two symphonies, but its melodically inventive early Romantic idiom was similar to Schubert's. In his capacity as imperial court organist, Voříšek composed a Mass in B-flat major. Together with his single symphony, some of his piano works and his Violin Sonata in G major, Op. 5, the Mass has been recorded.
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"Want You in My Room" received mostly positive feedback from music critics. It has been described by The Independent as Dedicateds "most distinctive [song], both vocally and melodically" and Mother Jones named it the second best song on the album. NME praised the track's "brazen lyrics" and "jubilant instrumentation", and Pitchfork complimented the "scene-stealing Jack Antonoff production". Paste ranked "Want You in My Room" as one of the best songs of May 2019.
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The theme marked "avec une céleste volupté" (with a heavenly voluptuousness) melodically presents a harmony that recurs throughout the sonata. Another recurring harmony is presented by the theme marked "étincelant" (sparkling). Passages throughout the sonata imitate lightning, clouds of perfume, and distant bells. The chords imitating the ringing of bells were a favourite of Scriabin's, and they provide another harmony that recurs throughout the work (two minor thirds separated by a minor sixth).
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The album was a big commercial success, though opinions varied on the artistic content. One reviewer called it "Bowie at his best". In a piece on Bowie for Time in July 1983, Jay Cocks described the album as "unabashedly commercial, melodically alliterative and lyrically smart at the same time". Robert Christgau felt that it had a "perfunctory professional surface", and that other than "Modern Love", which was "interesting", the album was "pleasantly pointless".
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The EP's first track, "Start a Riot", is a "soaring pop track," an "emotional, sensitive and melodically organic indie rock" song. It opens with electronic, echoing backing vocals and a simple piano line. Banners' falsetto vocals emerge in the chorus and "the heart of the song is exposed." The lyrics are personal and serve as an ode to a loved one, describing the lengths to which the narrator would go for them.
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McLoughlin has also grown to significant prominence in the world of underground electronic dance music, especially the melodic dubstep genre. He's regarded as "one of the absolute kings in the realm of melodically driven and euphorically inspired dubstep." In addition, he has provided vocals for songs well known in the EDM world, such as "Heartbeat" by the Dutch house duo Vicetone, and more recently, "Collide", with Laidback Luke & Project 46. In an interview with EDMSauce.
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The a'dungus are not in a particular key, and the tonality can be adapted to the preferences of the performers. The a'dungu is generally not used melodically, and instead outlines chords. Generally, a single note is played at a time on the bass and tenor instruments, while the alto and soprano a'dungus are used to play triads. In performance, complex arpeggiation gives simple tonal chord progressions an energetic, sometimes syncopated rhythmic drive.
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Vogt's music can be summarised as melodically focused electronic music with jazz influenced chord progressions. His music incorporates a wide range of influences, from the classical music he grew up reciting including works from Lizst, Bach and Chopin, to the sounds of jazz, electronic and hip hop music he was exposed to while studying at high school and college. Vogt also cites Herbie Hancock, Flying Lotus, KOAN Sound, Noisia and Russian pianist Sergei Rachmaninoff as direct influences.
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Another of his rondeaux, Le souvenir de vous me tue, was exceedingly famous, and copies of this piece were widely disseminated in Europe. All of Morton's surviving music is in French, not surprising since it all dates from his time in Burgundy. Melodically it is somewhat simpler than the music of his contemporaries such as Hayne or Antoine Busnois. The music theorist and writer Johannes Tinctoris wrote glowingly of Morton, mentioning that he was "world-famous".
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This idiom is characterized by fast tempos, instrumental virtuosity, and improvisation over set harmonic structures. Parker’s style of playing and his harmonic treatment particularly in improvisation continues to be influential across multiple genres and instruments. In particular, he innovated rapid passing chords, new variants of altered chords, and chord substitutions. His realization that the 12 notes of the chromatic scale can lead melodically to any key led to him escaping from the confines of previously practiced improvisation methods.
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" Paste writer Emily Reily noted that its production brings an "absolutely liberating chorus." The Guardian said that while the song was "not bad," there was "nothing melodically or sonically" that would set it apart on a radio playlist. The publication considered it be the weakest song on the record. While Sputnikmusic was more favorable towards the song, the website did share similar sentiments on the track's "sense of familiarity", but stated that it was "quite strong and well-executed.
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In his formative days, Vincenzo Galilei was trained in music theory by the famed Gioseffo Zarlino. In 1582 Vincenzo Galilei performed a setting, that he composed himself, of Ugolino's lament from Dante's Inferno. Caccini also is known to have performed several of his own songs which were more or less chanted melodically over a simple chordal accompaniment. The Camerata composers sought to recreate the style of Greek music, even though actual transcribed Greek music had been lost for centuries.
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'Lal Waterson's voice was stark but captivating, her songs lyrically ambitious and melodically powerful.'Once in a Blue Moon, Radio Times, p.141 6–12 November 2010 Lal Waterson was the sister of Norma Waterson and Mike Waterson, the aunt of Eliza Carthy, and the sister-in-law of Martin Carthy. She was survived by her husband of 30 years, George Knight, and her two children, Oliver Knight and Maria Gilhooley, with both of whom she had recorded albums.
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Alexis Petridis of The Guardian listed it as Swift's twenty-first best single, dubbing it "a masterstroke" with "potent and effective" verses from Lamar and an "even more anthemic" chorus compared to the album version. However, some critics considered it one of Swift's worst songs and singles in her discography. Rob Sheffield of Rolling Stone placed the song at the bottom of his ranking of all 153 Taylor Swift songs, describing it as "melodically parched, lyrically unfinished, rhythmically clunky".
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Kevin McDermott is a Scottish singer–songwriter who, with his group The Kevin McDermott Orchestra (KMO), has released eight albums over the past thirty years. Born 10 February 1962 He featured on British TV's The Tube in 1984. He is described in ‘The List’ as being 'melodically joyous and lyrically delicious.' while his songs were described as 'Teenage Fanclub melody with Radiohead tension' by MTV. His critically acclaimed first album was released in 1986 and called 'Suffocation Blues'.
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Au5's music encompasses a range of electronic genres, including dubstep, house, trance, drum and bass, drumstep and ambient. Au5 has described his sound as "melodically and sonically rich electronic music" and has noted that he is especially known for his take on dubstep. He has described himself as fusing the characteristics of trance and dubstep in his music. Au5 has described his earliest favourite styles, before the rise of dubstep, as "trance, glitch/IDM and acid jazz".
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Underwood recalled Bright adding an effect to her vocals similar to the ones used in Def Leppard songs: "That was a big thing with [the band], all of that hollow vocal sound. And I liked it." Bright used a similar effect on "See You Again", another song from Blown Away. Melodically, "Blown Away" is written in the key of A minor, and is set in the common time with a tempo of 134 beats per minute.
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All Star United is a Christian rock band that was formed by solo artist Ian Eskelin in 1996. The band is known for clever and sometimes sarcastic lyrics, as they frequently use their songs as vehicles to lampoon perceived excesses in Western culture. Their musical style combines elements of alternative rock and Britpop, anchored by melodically powerful choruses. All Star United has released five full-length albums, a collector's EP, and a "best of" collection that included two previously unreleased songs.
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"Little Wing" is a song written by Jimi Hendrix and recorded by the Jimi Hendrix Experience in 1967. It is a slower tempo, rhythm and blues-inspired ballad featuring Hendrix's vocal and guitar with recording studio effects accompanied by bass, drums, and glockenspiel. Lyrically, it is one of several of his songs that reference an idealized feminine or guardian angel-like figure. At about two and a half minutes in length, it is one of his most concise and melodically-focused pieces.
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The opening of "Denial" is evocative of David Bowie's song "Fashion", although it soon transitions into the sound of songs performed by Australian recording artist Kylie Minogue. "Denial" is composed of soft rock staccato verses, which are proceeded by a melancholic and harmonious pop chorus. Digital Spy's Nick Levine commented upon the song's compositional transition, writing: "'Denial' rides its elastic bassline to a transcendent, melodically-inspired chorus". The group's harmonies are backed by warm synthesizers and 1980s soft rock music.
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In the mid-1970s, while he was a professor at the Yale School of Music, Penderecki's style began to change. The Violin Concerto No. 1 largely leaves behind the dense tone clusters with which he had been associated, and instead focuses on two melodic intervals: the semitone and the tritone. This direction continued with the Symphony No. 2, Christmas (1980), which is harmonically and melodically quite straightforward. It makes frequent use of the tune of the Christmas carol Silent Night.
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The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns, and strings. #Largo — Allegro #Andante, in B major #Menuet e Trio, #Finale: Vivace The slow second movement is a hybrid between ternary and variation form. The main theme is similar in shape to the introduction to the first movement. After the theme is stated, there is a contrasting passage in the minor which is only loosely based melodically on the main theme.
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However, the sample is probably relied > upon too heavily and once you realise that, the verses sound rather flimsy. > The chorus, however, bears repeated listens. It's infectious and melodically > strong, and mature [...] this is an impressive debut - The Saturdays have > gone with the trick of releasing a song that doesn't sound like a first > single, but sounds like they have in fact been doing this sort of thing for > years and aren't even considering that this might not be a hit.
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The men and women continue the "call-and-response" tonic-beneath-dissonance progression as it modulates downward. Measures 25-26 echo the irregular opening in "silence and solitude," and 26-27 feature a melodically-absent duet between the soprano and alto consisting of minor seconds and perfect fourths.Figure 1: 14-part divisi chord on "eyes." In measures 28-52, Whitacre draws the listener by invitation on a crescendo to "drink in [...] eyes [...and] waters", until one can finally "open your eyes".
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String skipping is a method of achieving a guitar sound that is different from more traditional solo riff styles. In more traditional styles, the guitarist will often play several notes on one string, then move to the adjacent one, improvising on the fretboard in a melodically linear manner. In string skipping (as the name implies), a string is often skipped during the riff. Essentially, this technique is used to introduce larger intervals than are usually common in guitar melodies, thereby creating melodic interest.
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By 1987, the group were "poised for a breakthrough" according to AllMusic biographer Steve Huey. "Punk Rock Girl" was written several years prior to its recording, primarily by Genaro and Schulthise. Genaro had just graduated from Temple University and was working in its library when a musician friend spoke about wanting to write a punk rock-inflected nursery rhyme. Using this as his basis melodically, Genaro wrote much of the song but stalled when running out of words that rhymed with "girl".
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Whether something is fact or fiction, it is what it is and does not change – no matter how many people believe otherwise. The book also presents a visual satire of corporate culture. Each time the bear appears before a higher-ranking man in the corporation, the offices get progressively more elaborate (for example, progressively more phones, more waste-baskets, more secretaries, all according to rank. The secretaries in particular melodically tell the bear and bosses to come in in the animated version).
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Finally, the melody ascends in parallel movement and makes use of a final plagal leading cadence to get to the home key chord in root position. This cadence neither "melodically anticipates the arrival pitch" nor does it include the tonic in the left hand. Thus, it has been described as "the ideal harmonization of the plagal leading tone." The melody ends with two arpeggiated octave chords (D in the left hand followed by G in the right), bringing the prelude to a close.
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Kissy spent his teenage years growing up in Colchester, Essex. He began practising DJing and teaching himself music production at the age of 13 when a school friend played him a United Dance CD mixed by DJ Hype. His particular interest became very melodically complex post-modern electronic dance music, often around 128 BPM in tempo. As Kissy's technical abilities blossomed professionally, his live DJ shows began to focus on putting electro beats over classical pieces of music using Pioneer's CDJ decks.
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Bust of Kálmán in Siófok Kálmán and Franz Lehár were the leading composers of what has been called the "Silver Age" of Viennese operetta during the first quarter of the 20th century. He became well known for his fusion of Viennese waltz with Hungarian csárdás. Even so, polyphonically and melodically, Kálmán was a devoted follower of Giacomo Puccini, while in his orchestration methods he employed principles characteristic of Tchaikovsky's music. Despite his Jewish origins he was one of Adolf Hitler's favorite composers.
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Wackies music, while mainly known for its contribution to reggae, influenced the burgeoning hip hop movement of late 1970s and early 1980s New York. Reggae sound system dances were quite popular throughout New York City. Wackies music was played on specialized, powerful soundsystems while reggae deejays such as Jah Batta vocalized rhythmically and melodically atop the trademark bass-heavy sound. This influenced and encouraged the development of the hip hop parties featuring live MC's, the counterpart to the reggae soundsystem deejay.
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"Tea for Two" has an A1-A2-A3-B form, a range of just over an octave, and a major tonality throughout. The song's original key was A major with a false key change to C major during the second "A" section. It is melodically repetitive (as the entire song consists of eighth and quarter notes, except for a pattern of eighth, quarter, and eight notes which briefly emerge in the second section) and has a relatively simple harmonic progression.
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In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You".
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String Quartet No. 2 (1988) was commissioned for a dance work called Miniatures, choreographed and performed by Shobana Jeyasingh, who dictated the rhythmic structure of the piece, based on the South Indian Bharata Natyam tradition. Melodically and harmonically, it is Western classical music, while structurally it is Karnatak music. The Balanescu Quartet performed this work with the original dance as well as adding it to their concert repertoire. Miniatures was renamed Configurations when Jeyasingh added two additional dancers to the choreography.
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The album was reviewed by Richard S. Ginell at Allmusic who described it as an "amiable collection of mostly vintage standards" that Previn, Brown and Lowe "probably know in their sleep. Previn is as fluid, witty and melodically inventive as ever in his bop-derived, light-fingered manner, with occasional side trips into stride and Brubeck-like chordal perorations...The lack of a drummer becomes an asset in this golden mellow hall; a drum kit would have upset the acoustical balance".
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The Lookouts began playing out more in San Francisco and Berkeley and began to develop a fan following and to make the acquaintance of other local bands, including a melodically friendly group called The Mr. T Experience.Livermore, How I Became a Capitalist: The Lookout Records Story, Part One, pg. 7. A vibrant local scene began to congeal, based around the Gilman Street Project, an all-ages venue inspired, bankrolled, and coordinated by the popular Maximum Rocknroll, launched the night of December 31, 1986.
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The tour was included openers The Front Bottoms, the So-So Glo's, and You Blew It!, and was said to be among the group's most successful tours to date. DuPree's work on Hebrews represents his first recorded venture into the indie-punk/pop-punk style characterized by Say Anything. Previously Garron's work was focused on the more whimsical style of his primary work in Eisley, featuring slower, more melodically focused bass rhythms working in tandem with the accent-rich drumming of the group.
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As with most DeSylva, Brown and Henderson hit songs the tune is melodically infectious with unexpected lyric couplets that are still easy to recall.William Zinsser, Easy to Remember: the great American songwriters and their songs, Jafrey, N.H. 2006, p.55 It is also notable for a simple but ingenious bridge (middle eight bars) of continually ascending steps with closely syncopated lyrics.Ken Bloom, The American Song Book: the singers, the songwriters and their songs, N.Y. Black Dog, 2005; Lew Brown entry, Cafe Songbook.com.
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Bricard, p. 16 Morrison suggests that its funereal effect of tolling bells may also reflect the composer's own state of anguish, with deafness encroaching. The melodic line is simple and restrained, and except for a passionate section near the end is generally quiet and elegiac. ;Nocturne No 12 in E minor, Op. 107 (1915) With the twelfth nocturne Fauré returned to the scale and complexity of his middle-period works, but both melodically and harmonically it is much harder to comprehend.
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46-47 Melodically, blues music is marked by the use of the lowered third and dominant seventh (so-called blue notes) of the associated major scale.Ewen, p. 143 The standard 12-bar blues form is noted in uncorroborated oral histories as appearing communities throughout the region along the lower Mississippi River during the decade of the 1900s (and performed in New Orleans at least since 1908). One of these early sites of blues evolution was along Beale Street in Memphis, Tennessee.
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Melodically, Carey delivers the track over a "repeating" chorus backed by a "descending echo-synth". It contains a reduced number of notes in order to further accentuate the hook. While Carey employs a "sassy" tone of voice, both her and T-Pain's vocals are processed with Auto-Tune. Stephen Thomas Erlewine of AllMusic thought that the use of Auto-Tune on Carey's vocals served a "dual purpose", and explained that while it "camouflages her slightly diminishing range" it also made her sound "modern".
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"Drop That Kitty" is a "club-friendly," hip hop song. It features "bouncy" synthesizer production, and a minimal, "stinging" beat. Sign raps the track's main verses, XCX sings its chorus hook, while Tinashe sings its bridge and chorus pre-hook. Sign and Tinashe solicit a crooning technique in their vocal delivery, with Tinashe's being more melodically influenced, while XCX incorporates her characteristic, pop punk "cheerleader-esque" chanting. The Source wrote, "There's $ign's signature sleaze, XCX’s Top 40, pep rally hook voice, and Tinashe's sexy steez".
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This second theme, a hymn-like E major melody in four-part harmony, greatly contrasts with the first, though its melodic contour is prefigured in the sudden A major departure. Both themes progress somewhat in the style of variations and are structured with irregular phrase lengths. The development section is highly chromatic and is texturally and melodically distinct from the exposition. The recapitulation is once again traditional, staying in the tonic and stressing subdominant tonalities (D, the lowered second degree – in the first theme).
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Camilo Wong "Chino" Moreno (born June 20, 1973) is an American singer, songwriter and musician who is best known as the lead vocalist, primary lyricist, and contributing guitarist of Deftones. He is also a member of the side-project groups Team Sleep, Crosses, Saudade and Palms. Moreno is well known for his distinctive screams, as well as his soothing and dramatic tenor voice while singing melodically. In 2007, he was placed at number 51 in Hit Paraders "Top 100 Metal Vocalists of All Time".
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While the NPR reviewer stated that the recording "isn't groundbreaking," they praised its "coherent musical expression" and emphasis on "solid songcraft without pretense" which created a "satisfying and melodically sound album." Last accessed February 28, 2008. In anticipation of the 2008 US presidential election, Wilco released a downloadable version of Bob Dylan's "I Shall Be Released" that they performed with Fleet Foxes. The MP3 was available as a free download from the band's website in exchange for a promise to vote in the election.
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The bars begin to increase and decrease melodically and the word "EDGINESS" appears on the presentation screen. The scene then changes to Ezra trying on different outfits as two of the children continue to lip sync the song and look unimpressed by Ezra's original clothing. He then comes out wearing a camouflage tracksuit which is approved by the children. The scene is then changed to a room called the "Dance Zone" where Ezra, in the tracksuit, is dancing to the song with some of the children.
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In the development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance. In the recapitulation, the chord progression of the first thematic complex is brought to the higher registers, preparing the coda based on secondary theme cantabile element, which gradually broadens. The second movement shifts to a different expressive world. A simple ternary form with a cadenza–AB (cadenza) A, the B section represents an acoustic departure as the chromatic figurations in the left hand, originating in section A, are muted.
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The basic (and vague) definition of a march describes a piece of music based upon a regular, repeated drum or rhythmic pattern—which means a march is most recognizable by its phrasing. Almost all quickstep marches consist of four-measure, or four- bar, phrases typically ending with a whole note (that either creates or resolves melodic tension, see chord progression), followed by a pickup note. Thus it is said that this "basic" framework is what makes marches melodically "pleasing". Some marches have more noticeable phrases than others.
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According to group member Keisha Buchanan, the Sugababes are the first British band to incorporate the American sound in their music. Kitty Empire of The Observer called it "brooding R&B;" and noted its reminiscence of "Try Again" by American R&B; singer, Aaliyah. Similarly, K. Ross Hoffman of AllMusic wrote that "Gotta Be You" "treads melodically close to the song", in which he described the latter as "majestic". Another critic, Nick Southall from Stylus Magazine, wrote that it is "disarmingly close" to "Try Again".
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Upon release, Billboard considered Larson a "high energy addition to the new breed of today's country artists". They felt the album "spins through a kaleidoscope of material" and picked "When You Get a Little Lonely" as the album's "strong contender". Cash Box commented: "Thoroughly satisfying vocally, melodically and lyrically from start to finish, this latest album is further proof of Larson's consistent versatility as a performer." In a retrospective review, Stephen Thomas Erlewine of AllMusic felt the album showed Larson "[diving] headfirst into contemporary country".
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He left NG La Banda because it didnít afford him enough > opportunity to write. As a freelancer he wrote three important songs for > Charanga Habanera, including their breakthrough hit, "Me sube la fiebre." > After joining Issac, he continued to write prolifically. When Piloto founded > Klimax in 1995 his writing became even more melodically, harmonically and > lyrically original, sometimes straying into controversial areas that > resulted in songs being censored by the government and always pushing the > envelope of musical creativity in wonderful and varied ways.
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The tritone substitute dominant often contains the original dominant pitch (the sharp fourth, also called sharp eleventh or flat fifth, relative to the original root) due to its importance melodically and tonally, and this is one of the ways in which substitute dominants may sound and function somewhat differently than conventional dominant chords.Ligon, Bert (2001). Jazz Theory Resources, p.128. . (However, sharp elevenths also occur on non-substituted dominant chords in jazz.) The substitute dominant may be used as a pivot chord in modulation.
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HotNewHipHop stated the track "recalls the vibe" of Juice Wrld's debut album Goodbye & Good Riddance and "would fit in nicely alongside his more party-friendly joints as he sings about how he has no need to hire a bodyguard since he's got the stick on him at all times". XXL said "Armed and Dangerous" "finds Juice getting back in his bag", calling it a "free associative" track "where the melodically inclined artist spits about his come-up while firing off some flexes and self-aware bars".
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Smokey Robinson & the Miracles as inspiration for the song's melody Regarding composition of the music, Lennon's and McCartney's recollections differ. Referring to McCartney, Lennon said "his contribution melodically was the harmony and the middle-eight itself." In 1977, when shown a list of songs Lennon claimed writing on for the magazine Hit Parader, the only entry McCartney disputed was "In My Life". McCartney said he set Lennon's lyrics to music from beginning to end, taking inspiration for the melody from songs by Smokey Robinson & the Miracles.
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The pyeongyeong being played for Jongmyo jerye The bianqing is an ancient Chinese percussion instrument consisting of a set of L-shaped flat stone chimes known as qing, played melodically. The chimes were hung in a wooden frame and struck with a mallet. Along with the bronze bells called bianzhong, they were an important instrument in China's ritual and court music going back to ancient times. The instrument was imported to Vietnam (where it is called biên khánh), and Korea (where it is called pyeongyeong).
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After this album, he dropped the pseudonym and in 1974 released his debut album, Benzaiten (Island Records), under his own name. This instrumental electronic music album was melodically rich and can be defined as a mix of progressive rock and traditional Japanese music. The album also featured Haruomi Hosono and it utilized various electronic equipment such as a synthesizer, rhythm machine, electronic drums, electric guitars, and electric bass. In 1974, he moved to the Los Angeles area, USA, where he signed a contract with Island Records.
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Mitchell, who did not appear at the Woodstock Festival, performs the song "Woodstock" prior to any album release, first attempting to teach the audience to sing the melodically complicated refrain. Ironically, Mitchell would later develop a well-known distaste for festival gigs, but in this performance her enthusiasm is evident. Mitchell talks about having spotted whales off the coast, and is generally seen with then-boyfriend Graham Nash of CSNY. She also sings "Get Together" with members of Crosby, Stills & Nash in a seemingly impromptu jam.
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The opening recitative is harmonically active but melodically fragmented because of the unusual choice to set balanced couplets in recitative. The first aria is characterized by a "restless feeling of effort" beginning immediately after the short instrumental ritornello, and is the only one in da capo form. The second recitative is the only one to be accompagnato, with the strings supporting a harmony that "begins to slide around like quicksand". The second aria has a flowing ritornello theme provided by continuo and obbligato violin.
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West also uses the song's chorus as a subsidiary dedication to his mentor No I.D., who first taught him how to produce music. Similar to its musicality, the songwriting characteristics of the album-closing track, "Good Night" alludes to West's next musical progression. The majority of song is composed of repetitive recitations of its choruses and bridges by Mos Def and Al Be Back. West melodically raps only one single verse in which he nostalgically reminisces over taking trips to the museum with his grandparents.
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Thus, Evans created a self-sufficient language for the left hand, a distinctive voicing, that allowed the transition from one chord to the next while hardly having to move the hand. With this technique, he created an effect of continuity in the central register of the piano. Lying around middle C, in this region the harmonic clusters sounded the clearest, and at the same time, left room for contrapuntal independence with the bass. Evans's improvisations relied heavily on motivic development, either melodically or rhythmically.
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Beyoncé performing "Freakum Dress" during The Mrs. Carter Show World Tour, 2013 The song received mostly positive reviews. Phil Harrison of Time Out called "Freakum Dress" a magnificent production thanks to its vocal arrangements and commented that its beat can "drive the boys crazy." Brian Hiatt of Rolling Stone magazine wrote that even though "Freakum Dress" is less harmonically and melodically produced than "Crazy In Love" (2003) and songs from the Destiny's Child era, it remains a good track due to its highly energetic beat.
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At this point a third theme is heard in the woodwinds – like the first theme also built on the perfect fourth but this time with the defining rhythm "short-long-short" – with tremolo accompaniment in the strings. At measure 28, the fourth theme enters still in G major and distinguished by its duple (equal) subdivision of the beat in the horns and woodwinds as a chorale-like chord progression. This exposition concludes with the return of the third theme, now rhythmically in diminution and melodically circular, fading away to an afterthought.
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The announcement also detailed the reasons behind the making of this album: Commenting on track choices, bandleader Barry Hyde explained to NME that the cover of Black Eyed Peas' "Meet Me Halfway" was made at his request. He explained finding the track "amazing, melodically speaking", and liking the idea of covering a song previously sung by women. The other Futureheads members were at first unsure of this choice, but after reworking its basic elements and removing the rap section that was "a step too far", the track made its way to the record.
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The melody of the piece basically repeats for each stanza with only minor variations. The later songs of the troubadours, composed in the same style, were never transcribed with more than one stanza of music. It has been suggested that, like O Maria, subsequent stanzas were melodically similar with only minor variations. Similarities have been drawn between the music of O Maria and that of a ninth-century hymn to the Virgin, Ave maris stella ("Hail, star of the sea"),An edition of this poem with translation can be found in Frederick Brittain, ed.
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In addition, the Bon Jovi song "Bells of Freedom", from their Have a Nice Day album, is somewhat reminiscent of "Chimes of Freedom" in structure. Neil Young's song "Flags of Freedom" from his Living with War album mentions Dylan by name and melodically recalls the tune and verse structure of "Chimes of Freedom", though Young is listed as the song's only writer.Neil Young's harsh words, Chris Lee, latimes.com, April 21, 2006 The British band Starry Eyed and Laughing took their name from the opening line of the song's final verse.
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The Providence Journals Rick Massimo, wrote that the song is "being rather melodramatic but melodically successful". Chris Harris of Rolling Stone wrote that Lee is "stroking the ivories and delivering her lyrics with an elegant sweetness" which he found reminiscent of Tori Amos and Sarah McLachlan. A writer for Reuters called the song "as intense and affecting as anything before it -- and this time, Amy Lee's lyric steps from the dark side, reveling in the relief of positivity." Jason Nahrung of The Courier-Mail praised the song, calling it "sombrely arranged but lyrically uplifting".
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A review of the performance called it a melodically very rich, truly ecclesiastical work. The four-part solo Et incarnatus was very wittily conceived, the Benedictus had interesting harmonic effects, the Agnus Dei offered surprising modulations; only the Osanna was not so successful and not adapted to the Church's attitude. Krall's own Tantum ergo and Asperges me by Ferdinand Kloß rounded off the Mass. Beethoven's Mass in C major, Op. 86, and the Laudate from his oratorio Christ on the Mount of Olives was given on 21 November 1847.
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The album was recorded in Kai's own studio in Hamburg in autumn 2009. The band has recorded 12 songs. Ten of them were featured on the regular album release, while the other two were bonus tracks appearing on the different editions of the album. The band described some of the songs on the official website, revealing that there would be a full- throttle number called "Rise", a rhythmic and melodically diverse song called "Time To Live", and a multilayered anthem titled "All you need to know", featuring ex-Helloween frontman Michael Kiske.
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Promotion of the premiere was prohibited by the authorities, but every seat ended up occupied. After his Third Symphony of 1976, Górecki was to embrace smaller-scale musical forms, such as short unaccompanied choral works (e.g. Broad Waters, Op. 39, his Five Marian songs, Op. 54) and chamber works; Miserere was to be the only large-scale work within the 1980s, reminiscent of his 2nd and 3rd symphonies in compositional scale and performer numbers. At the same time, his music became both harmonically and melodically simpler in his writing than his previous serial compositions.
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" Editor Brendon Veevers described the new songs as "some of the bands finest work." Ronny Olovsson from Swedish publication Aftonbladet also complimented the new songs, calling them "just as strong [melodically]" as their biggest hit singles, but claimed that the production on their earlier material had aged badly. In a review of the 2000 US version of the album, Billboard said: "It's ironic how some acts just rack up hit after hit, seemingly under the radar of pop culture. It's also interesting to note how easy it is to take such acts for granted.
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In order to be melodically pleasing, Étude Op. 10, No. 7 demands a special technique, as the interpretation of its melodic line is not as easy as the more popular études by Chopin; consequently, it is not a standard in concert repertoire. However, technicians, in particular Abby Whiteside, favored this piece for its note structure and challenging execution. She states that it is impossible to play this without following her pedagogy, demanding that each note be played by action of the upper arms. It is, however, possible to master it without following her methodology.
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The album was released 2 June 2017. The Guardians four-star (out of five) review praised Hackman's "sweetly sung cut-glass vocals" and for having "risen from the alt-folk scene". The Observer's review (rating 3/5 stars) called the album "witty, raucous and honest", noting that Hackman, despite a new sound, "keeps the best of her former incarnation", adding to the "balance and variety" of the album. Pitchfork declared the album "bracing" and "darkly funny", "melodically strong" and "full of surprises", giving a rating of 7.5/10.
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At the start of the next episode, it was revealed that Suzi's version was chosen by viewers and was first used in the opening titles of that episode. A revised version of the theme, including 'drumbeat' elements, accompanied the World Tour series. The show's current theme music, credited to Andy Duggan, was introduced from the 2013 reboot. It is similar sonically to the first and third themes, melodically following on from the immediately prior (World Tour) theme but with electronic overtones akin to those of the original music.
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The minor third is one of two commonly occurring thirds. It is called minor because it is the smaller of the two: the major third spans an additional semitone. For example, the interval from A to C is a minor third, as the note C lies three semitones above A. Coincidentally, there are three staff positions from A to C. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The minor third is a skip melodically.
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The Allmusic review by Thom Jurek awarded the album 4 stars stating "This is easily Lacy's "straightest" album from the period, and he stays melodically and harmonically close to Monk's original compositions in the heads before taking off elsewhere in the solos. But Lacy keeps to the notion of repetition, syncopation, and melodic invention that Monk did, and the band is nearly symbiotic in its communication around and with him. The music here is a delight and a revelation all at the same time. The sound is warm and full and the transfer is solid.".
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Historian and critic Kyle Gann describes the broad range of ways in which Cowell constructed (and thus performed) his clusters and used them as musical textures, "sometimes with a top note brought out melodically, sometimes accompanying a left-hand melody in parallel." Beginning in 1921, with an article serialized in The Freeman, an Irish cultural journal, Cowell popularized the term tone cluster.Hicks (2002), pp. 106–8. While he did not coin the phrase, as is often claimed, he appears to have been the first to use it with its current meaning.See Seachrist (2003), p.
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Weezer used internet streaming service YouTube as a way to promote the album. Weezer loaned itself to 15 amateur online video producers, "going along with whatever plans the creator could execute in about 30 minutes." The band used many of the popular channels to promote themselves, such as Barely Political, Tay Zonday, Dave Days, Magic Hugs, Fred Figglehorn, Ray William Johnson, and The Annoying Orange. The Gregory Brothers solicited musical and vocal contributions from the band on one of its signature topical compositions—built around melodically enhanced speeches by Rep.
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You don't have to worry about > changes and you can do more with the [melody] line. It becomes a challenge > to see how melodically innovative you can be. When you're based on chords, > you know at the end of 32 bars that the chords have run out and there's > nothing to do but repeat what you've just done—with variations. I think a > movement in jazz is beginning away from the conventional string of chords > ... there will be fewer chords but infinite possibilities as to what to do > with them.
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Unlike many tabla players, Roy does not come from a family of professional musicians and is essentially self-taught, although he studied with his late maternal uncle Dwijendra Chandra Chakraborty as a child, and also studied briefly with Alla Rakha. Consequently, his playing is freer than that of many other tabla players, who adhere more strictly to the tala system of Indian rhythm. He often plays a set of up to eight tabla (tuned to different pitches) and two baya at a time, which he plays melodically as well as rhythmically.
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Then he relocated to San Diego in US (1985), where he was a music educator and later professor in Music at California State University (1995–2004). Since 2004 he has been Associate Professor at Norges Musikkhøgskole. With residence in San Diego for 19 years, Antonsen had many interesting collaborations, including with Ravi Shankar's tabla player Abhiman Kaushal, drummer Duncan Moore, guitarist Peter Sprague, bassist Bob Magnusson and pianist Andy LaVerne on the album Dream Come True (2000). Antonsen's compositions often consist of strong rhythmic patterns, harmonically sophisticated and melodically complex, yet logical.
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Orff's style demonstrates a desire for directness of speech and of access. Carmina Burana contains little or no development in the classical sense, and polyphony is also conspicuously absent. Carmina Burana avoids overt harmonic complexities, a fact which many musicians and critics have pointed out, such as Ann Powers of The New York Times."Not Medieval but Eternal; In Its Sixth Decade, Carmina Burana Still Echoes" by Ann Powers, The New York Times (14 June 1999) Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi.
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Some of the songs left off the record were "really heavy and raw" as a result of which Gruff Rhys feels Hey Venus! is "more consistent with our back catalogue". Both lead single "Show Your Hand" and "Suckers!" were originally cut from the album, for being "too generic" and too "obvious ... melodically" respectively, until the band were persuaded to reconsider. Rough Trade Records boss Geoff Travis told the group that "Show Your Hand" was his favourite song and, following the tracks reworking to include a French horn part, it was reinstated.
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While in traditional variation sets a fugue was often used to conclude the work, Beethoven uses his fugue to reach a grand climax, then follows it with a final, quiet minuet. The fugue of Variation 32 is set apart by its foreign key, E major. Structurally, the piece abandons Diabelli's two-part original. Melodically, it is based on Diabelli's falling fourth, used in many of the preceding variations, as well as, most strikingly, on the least inspired, least promising part of Diabelli's theme, the note repeated ten times.
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It was a hit in Australia, peaking at number six on the ARIA singles chart for three weeks in February 1996. "Tell Me" was certified gold in Australia, and was placed at number 55 on the highest-selling singles of the 1996 Australian chart. The single also peaked at number 31 in the UK, and number 14 in New Zealand. In 2003, Raymond & Co wrote Playing Games which was melodically inspired by Tell Me. In 2017, Australian singer Starley wrote "Touch Me", which was also heavily inspired by "Tell Me".
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All four movements are in slow tempo. An introductory, solemnly carried Andante mesto with muted timpani and trumpets is followed by a rhythmically profiled Larghetto, like a shriek dance, with melodically ariose qualities. The third movement is simply titled Choral and consists of a simple four-part setting over the first verse of the Protestant hymn Now let us bury the body by Martin Weiße (1531). The finale begins in Adagio, in which the chorale is processed as a cantus firmus movement as well as a fugue (with a rhythmically altered thematic head).
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Crenshaw said in an interview that "Our Town" is "just a song about being homesick for what was our home then, New York City." Crenshaw later recalled that the song was written quickly, after having not written a song in a while. Crenshaw said that the topic of New York City was something he "could seize on back then." Melodically, "Our Town" was inspired by Babs Cooper's version of the Innocents' song "Honest I Do," a song that Crenshaw remembered listening to at his house when he was young.
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Amanda Hensel of Taste of Country gave the song an eight out of ten rating, describing it as "light and airy, upbeat and catchy, but easy for anyone to relate to" while adding that "it's inevitable that Hayes is about to take country music by storm." Matt Bjorke of Roughstock gave the song three stars out of five, writing that the song has a "clever enough lyric, magnetic melody and charisma to burn, both vocally and melodically." Storm Warning also picked up a Top 50 Song award during the 2012 BMI awards.
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"It's in Your Eyes" is a single performed by Phil Collins and released in 1996 as the second single from his album Dance into the Light. A Beatles-esque melody, both melodically and lyrically - closing mirroring The Beatles song, "Anytime At All", the song only reached #30 UK Singles Chart and fared worse on the U.S. Billboard Hot 100, reaching #77. However, the song did reach the top 10 on the Billboard Hot Adult Contemporary Tracks chart. For promotional live performances of the song, Collins played the lead guitar instead of Daryl Stuermer.
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Wirén's output, which ranges from serious to popular, is notable for its quality rather than quantity, and a number of his works were refused opus numbers or withdrawn. He once commented that his first desire was to entertain and please, and compose listener-friendly 'modern' music. He was reluctant to write for the voice (in the 1965 Eurovision Song Contest entry, Alf Henrikson wrote the lyrics after Wirén had composed the music). Neoclassical pieces from Wirén's early Parisian period, including the Piano Trio (1933) and the Sinfonietta (1933–34), are melodically and rhythmically entertaining.
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In Dzūkija, for example, the songs mocking the groom and his party take on the tonal characteristics of laments and lullabies, which augment the intended effect. Traditional drinking and banqueting songs often sing of the hops, which cause trouble by making the barrels burst at the seams. These songs are also related to various wedding rituals, melodically they are similar to other songs in the wedding repertoire, and they are often lyrical in nature. The bride's verkavimai (from verkti—to weep or sob) were an important part of the wedding ritual.
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Like Doggett, Pegg criticises the recording's arrangement and Bowie's vocal, calling it a "strained attempt" at an American rock'n'roll vocal, along with an additional "come on, you mothers!" lyric. According to Marc Spitz, the Corns' version is melodically the same as the Ziggy version, but with a slightly different chorus. Doggett believes that had the track and "Hang On to Yourself" not been re-recorded for Ziggy Stardust, they would have been forgotten. Author Kevin Cann writes that once the lyrics were revised and "given the Ziggy treatment", it became a "glittering glam gem" in the context of the album.
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An appoggiatura (; ) is an added note that is important melodically (unlike an acciaccatura) and suspends the principal note by a portion of its time-value, often about half, but this may be considerably more or less depending on the context. The added note (the auxiliary note) is one degree higher or lower than the principal note, and may or may not be chromatically altered. Appoggiaturas are also usually on the strong or strongest beat of the resolution, are themselves emphasised, and are approached by a leap and left by a step in the opposite direction of the leap.Kent Kennan, Counterpoint, Fourth Edition, p.
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Ilaiyaraaja at the inauguration of the alt= Ilaiyaraaja's music is characterised by an orchestration technique that is a synthesis of Western and Indian instruments and musical modes. He uses electronic music technology that integrates synthesizers, electric guitars and keyboards, drum machines, rhythm boxes and MIDI with large orchestras that feature traditional instruments such as the veena, venu, nadaswaram, dholak, mridangam and tabla as well as Western lead instruments such as saxophones and flutes. The basslines in his songs tend to be melodically dynamic, rising and falling in a dramatic fashion. Polyrhythms are also apparent, particularly in songs with Indian folk or Carnatic influences.
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One certainly respects Monder's music, but it generally lacks much warmth or wit". On All About Jazz, James Taylor said it "covers all the ground from free, ambient and discordant to tight, together and melodically upbeat" and noted "Trio records can go one of two ways: they either become a showcase for one particular player's overwhelming talent or a dynamic conversation between three equally talented and thematically in-tune musicians. Dust definitely falls in the latter category. This isn't Monder's show per se; all three players push and pull the songs in varying directions, following no real leader.
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As a poet and musician, Gautier demonstrates skill and originality in his handling of traditional themes, especially metrically. He experiments with asymmetry and lengthiness. Melodically, he is highly individual. Four of his melodies are non-repetitive; in two the musical phrase lengths differ from the lyric phrase lengths, and in all of his surviving pieces he is not constrained to an octave. One melodic setting of his song "Se j’ai esté lonc tens hors du päis" has the largest range of any surviving medieval lyric, the highest note lying a full two octaves above the final.
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Internationally, his fame arises chiefly from his extensive body of choral music, which exceeds 500 individual choral songs, most of it a cappella. The great majority of these pieces are based on traditional ancient Estonian folksongs (regilaulud), either textually, melodically, or merely stylistically. His composition most often performed outside Estonia, Curse Upon Iron (Raua needmine) (1972), invokes ancient Shamanistic traditions to construct an allegory about the evils of war. Some of his works were banned by the Soviet government, but because folk music was fundamental to his style most of his compositions were accepted by the censors.
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The song developed into Lindsey's theme music which introduced his time slot every night. "The Quiet Storm" was four hours of melodically soulful music that provided an intimate, laid-back mood for late-night listening, and that was the key to its tremendous appeal among adult audiences. The format was an immediate success, becoming so popular that within a few years, virtually every station in the U.S. with a core black, urban listenership adopted a similar format for its graveyard slot. In the San Francisco Bay Area, KBLX-FM expanded the night-time concept into a 24-hour quiet storm format in 1979.
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Typically 8 minutes long, the opening movement is presented as a waltz with specific gypsy influences evident melodically, through the use of various modes and non-traditional scales, and rhythmically, through the use of irregularly placed accents and extended syncopated rhythms. Metrically, the movement is set in shifting, regular compound meters that at times evoke both a clear or equally murky beat placement. The movement is presented in standard Sonata form in conjunction with Bartók's attempt at a neoclassical work. Bartók's homage to the Baroque period is clear in his treatment of orchestration in this movement.
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Although very much an advocate of contemporary music, Bauer herself was considered relatively conservative as a composer; her works from the 1910s-1920s mostly contain a pitch center, and she only turned to serialism briefly in the 1940s with works such as Patterns.Hisama, Gendering Musical Modernism, 5. Her music is generally melodically driven, using “extended tonality [and] emphasizing colouristic harmony and diatonic dissonance.” Both impressionistic and romantic influences feature in her works, but Bauer's studies with Gédalge particularly marked a change in her style from conventionally tonal to a more impressionistic, post-tonal idiom as demonstrated in her 1924 works Quietude and Turbulence.
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What sets this work apart from all of the preceding Chôros is its use of traditional motivic developmental techniques. The motive that first appears at rehearsal number 1, for example, is developed intervallically, tonally, melodically, and—as in some of Stravinsky's works—by variation . Villa-Lobos here proclaims himself free of the strictly nationalist preoccupations of the preceding works in the series. Nevertheless, in the final section he draws on the esquinado, an almost forgotten Brazilian dramatic dance, and earlier on quotes a dance called charanga from the state of Espírito Santo, collected in 1912 by Santos Vieira .
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Before joining AFI on November 2, 1998, Jade Puget played in various bands, including Loose Change and Redemption 87. His first album with AFI was 1999's Black Sails in the Sunset. The first song he wrote for the band was "Malleus Maleficarum".I Heard a Voice DVD Puget's addition to the band introduced fans to a more melodically acute and dynamic sound that was vastly different from earlier material. AFI next released the All Hallow's E.P. in October 1999, which featured various elements of horror punk and a sound disparate from much of the band's earlier material.
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The relatively large-scale symphony is again in four movements, and again, as with symphonies 6 and 8, the positions of the Scherzo and the slow movement are exchanged from their usual spots. The music harmonically and melodically resembles the seventh symphony, and stands in contrast to the tenth as the seventh does the sixth. The character is predominantly dreamy and lyric, the tensions of the earlier symphonies are missing. Myaskovsky had been occupied in this time more closely with the music of Claude Debussy, and from Sergei Prokofiev had been able from Paris to acquire some scores.
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However, the band had difficulties completing the remainder of the song melodically. Bono said that it was "a bass line in search of a song", while the Edge stated that "the key to the song was finding ways to mess around with chords on top without having to change the bass". As U2 continued to struggle with the song, the tense atmosphere of the recording sessions at Hansa Studios in Berlin took its toll. Producer Daniel Lanois arrived at the studios early one morning before the band to work on ideas he had for the song.
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The song is highly regarded in the industry, having become a standard. Songwriter Jerry Leiber described it as "a very strange and beautiful song", among the "truly beautiful melodically and lyrically" songs by Fred Neil, who was described by Rolling Stone as "[r]eclusive, mysterious and extravagantly gifted". A 2006 article in The New York Times characterizes the song as "a landmark of the classic-rock era." The song's popularity has proven persistent; through 2005, according to figures from Broadcast Music Incorporated reported in The New York Times, the song had aired on radio and television 6.7 million times.
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Closed form compositions are intended to lead the listener down a specific path, both melodically and harmonically. A simple example of a melodic trait of closed form is the use and fragmentation of motives; a harmonic example is the use of progressions to lure the listener to expect something, such as a climax or an ending.Lutosławski (2007), pp. 133–5 The symphony demonstrates on a large scale the importance of motion towards a musical goal—the sort of tension and release that is a foundational principle of Western music.Stucky (1981), p. 126 In the second symphony, these ideas manifest in the following way.
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While it evolved primarily as a basis for chords, the harmonic minor with its augmented second is sometimes used melodically. Instances can be found in Mozart, Beethoven (for example, the finale of his String Quartet No. 14), and Schubert (for example, in the first movement of the Death and the Maiden Quartet). In this role, it is used while descending far more often than while ascending. The harmonic minor is also occasionally referred to as the Mohammedan scaleUnited States Patent: 5386757 as its upper tetrachord corresponds to the Hijaz jins, commonly found in Middle Eastern music.
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Savaskan's first mature works were relatively strict in their applications of his pitch-time structuring methods. Since 1986, however, his music has exhibited greater surface exuberance and diversity, whilst not abandoning the conscientious structuring of earlier works (to this day he remains a committed Constructivist). The first piece to demonstrate this new direction was 'Panic in Needle Park', for string quartet and electronics, which is rhythmically propulsive and melodically more direct than anything he had previously composed. Savaskan's Second Symphony, Age of Analysis (1997–98), premiered by the BBC Symphony Orchestra for BBC Radio 3, is another work of this type.
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The song itself is distinct, especially when in comparison to the various other tracks on By the Way. Some consider the song to be among the only true punk/funk sounds on the entire album, along with "Throw Away Your Television". Rolling Stone Magazine; By the Way Review – Tom MoonPopMatters; By the Way Review – Kimberly Mack "Can't Stop" was considered to be "energetic" and melodically encompassing, by combining textured, melodic, and funky themes together into one. The song was the Chili Peppers' seventh number one on the Modern Rock Tracks chart, and second from the album By the Way.
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His song "Uncle Joe", although melodically not original, had a huge influence upon the American psyche, influencing Dizzy Gillespie, Ella Fitzgerald, Lord Mouse and the Kalypso Katz, Hazmat Modine, Bob Brozman, and C. W. Stoneking, to name but a few. He has inspired a newer generation of artists around the world, for example with his recording "Black But Sweet" covered by Mighty Dub Katz ("Son Of Wilmot"), Sabres of Paradise ("Wilmot"), Shantel ("Bucovina") and Eleftheria Arvanitaki ("Δεν μιλώ για μια νύχτα, εγώ"). The Avalanches sampled Houdini's "Bobby Sox Idol" heavily in the 2016 single "Frankie Sinatra".
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" In his review of the score, Tim Clark of Soundtrack.net lamented the "absence of a truly memorable theme, despite a wealth of thematic material," and found similarities to Dario Marianelli's composition for the 2005 film Pride & Prejudice. Patsy Morita, a music critic for Allmusic, wrote that the second half of Johnston's score becomes as "unremarkable" as "so many other dramatic film scores of the early twenty-first century." She continued, "It fulfills its purpose of underscoring the emotion of the story by being moody and slow to change melodically and harmonically, and by using many pregnant pauses and minimalist-leaning repetitive figures.
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Higgins said, "We knew that was the piece of music Girls Aloud needed to announce them as a supergroup in this country, so we knew we couldn't drop the ball melodically or lyrically." He elaborated, "Girls Aloud's records were more driving and pumping and innovative then than they are now because that's not what's required [...] "The Promise" was the sound of a big group, a group about to be huge. They needed the theme tune to the biggest girl group on the planet". As soon as Girls Aloud heard the song, they decided it should be the first single from Out of Control.
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Mikey MiGo of 411mania wrote that the song is a "welcomed change" from Timberlake's past work. She stated that the song "has qualities of Prince that I've never seen anyone muster up before". Amanda Murray of Sputnikmusic called the song "musically and melodically great", but criticized its lyrics. She wrote that the lyrics sound like the dialogue of a "low-rent porn film", highlighting the lines: "She's pressed up on me; I think she's ready to blow?" and "All I need is a moment alone, to give you my tongue and get you out of control".
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It was in response to the Indian needs that the hand-held harmonium was introduced. All Indian musical instruments are played with the musician sitting on the floor or on a stage, behind the instrument or holding it in his hands. In that era, Indian homes did not use tables and chairs. Also, Western music being harmonically based, both a player's hands were needed to play the chords, thus assigning the bellows to the feet was the best solution; Indian music, being melodically based, only one hand was necessary to play the melody, and the other hand was free for the bellows.
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Anastasio's electric guitar technique is largely conventional; he does not typically make use of tapping techniques and does not usually play slide guitar (an example of when he does is in the Oysterhead section of Les Claypool's 5 Gallons of Diesel) but is known to be competent at both techniques. He normally uses a 2.0mm Adamas graphite guitar pick, but does not always do so. Melodically, he often incorporates modes, notably the dorian, mixolydian, and locrian, as well as pentatonic scales. In addition to scales, Anastasio makes abundant use of arpeggios while improvising as well as in his compositional material.
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The song has been performed by contemporary singers such as Jill Scott and Charles Grigsby. In 1982 "Part 2" of "You Can't Win", in which Michael Jackson repeatedly sings the line "Can't get outta the game", was vocally overdubbed, and the resulting track was titled "Can't Get Outta the Rain"; it became the B-side of "The Girl Is Mine", the first single from Jackson's landmark album Thriller. Despite "Can't Get Outta the Rain" being melodically identical to "You Can't Win", as well as lyrically identical except for the word "rain", Jackson and Quincy Jones are credited as the song's composers, not Charlie Smalls.
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Robles' early work is heavily influenced by the music of the early 20th century, particularly by Edgard Varèse and Anton Webern. This is audible in his Dos Piezas para Flauta Sola (1996), el cristo llora lágrimas de sangre (1999) for voice and ensemble and amanecer en tiempos de guerra for orchestra (1999). In the latter, commissioned by the National Symphony of Panama and dedicated "to the Panamanian victims of invasion of December 1989", Robles presents angular motives which slowly develop melodically over quartal harmonies. Later works show clearer influences from Panamanian traditional music and poetry, and a turn to symmetrical harmonic constructions, although still in fourths and seconds.
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La fanciulla del West (The Girl of the West) is an opera in three acts by Giacomo Puccini to an Italian libretto by and , based on the 1905 play The Girl of the Golden West by the American author David Belasco. Fanciulla followed Madama Butterfly, which was also based on a Belasco play. The opera has fewer of the show-stopping highlights that characterize Puccini's other works, but is admired for its impressive orchestration and for a score that is more melodically integrated than is typical of his previous work. Fanciulla displays influences from composers Claude Debussy and Richard Strauss, without being in any way imitative.
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Composers began to write increasingly involved parts for the timpani and sought ways to challenge the timpanist, both technically and melodically. Richard Strauss's compositions included timpani parts with very difficult rhythmic passages and challenging tuning changes that could only be played using a set of pedal timpani. For example, in the final waltz in Act 3 of his opera, Der Rosenkavalier, Strauss wrote for the timpani the way he wrote for the bass, with a long, walking melodic line. He accomplished this by requiring the timpanist to make many quick and challenging changes in the drums pitch that imitated the walking bassline that occurs throughout the entire waltz.
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PopMatters writer Ed Whitelock referred to Living in Extraordinary Times as an "extraordinary" record that saw James "firing on all cylinders". He said Glennie and Baynton- Power act as a "criminally underappreciated rhythm section … [a] foundation that, if removed, would render all else to rubble". Aug Stone of Under the Radar said the band "continue to play with our expectations both sonically and melodically ... taking chances that pay off most of the time". According to AllMusic reviewer Stephen Thomas Erlewine, it is "a little exhausting for those who aren't true believers" but it can "prove to be fascinating for the dedicated sort who choose immersion over skimming".
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In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau found the music "both complex and likable-to-catchy, with a unique light feel that begins with the way Mason doubles on acoustic and electric", but believed Mason lacked the "poetic gift" to put across his evasive lyrics. He gave the album a "B" grade. Jim Newsom from AllMusic was more impressed in a retrospective review, regarding the album as Mason's best work, featuring "an excellent batch of melodically pleasing songs, built on a fat bed of strumming acoustic guitars with tasteful electric guitar accents and leads." He gave it four-and-a-half out of five stars.
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In her blog for The Daily Telegraph in 2011, Sarrah Le Marquand criticised Brant's performance, claiming "for all her sweet enthusiasm, Brant cannot sing a note". She suggested the line-up at the time were "melodically challenged". Deb Pilgrim of Flying Solo argued that the band's content did not reflect the target audience it was tailored for, with complicated choreography and undefined member roles. Reviewing the group's performance at Carols by Candlelight in December 2016, which served as the debut performance of most group members, David Knox of TV Tonight stated "while it wasn’t a memorable first outing, perhaps they will find their place in a setting that showcases their talent".
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The soaring instrumentals contain stirring strings and a plodding piano. The song is a melancholic duet that fuses Swift's soft vocals with Vernon's low-register baritone, serving as an unarticulated conversation between two former lovers, setting forth their lack of communication. This thematic aspect reflects in the melody and lyrics of "Exile" as well: Melodically, the song is characterized by two voices in counterpoint—alternating while remaining as separate melodies. Similarly, the lyricism is structured after a call-and-response format, seeing Swift and Vernon singing over each other rather than fully listening and responding to each other, giving the song an argumentative tone with no fruitful end.
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An incomposite interval (; ) is a concept in the Ancient Greek theory of music concerning melodic musical intervals () between neighbouring notes in a tetrachord or scale which, for that reason, do not encompass smaller intervals. ( means "uncompounded".)Henry George Liddell and Robert Scott, A Greek–English Lexicon, revised and augmented throughout by Sir Henry Stuart Jones and Roderick McKenzie (Oxford: Clarendon Press; New York: Oxford University Press, 1996). . Aristoxenus (fl. 335 BCE) defines melodically incomposite intervals in the following context: In another place, Aristoxenus clarifies that It is thus not an issue of the voice being physically incapable of singing a note within an incomposite interval.
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For example, in the enharmonic genus the distance from the neighbouring scale degrees lichanos () to mesē () is a ditone—a gap equivalent to the major-third interval between F and A in the modern scale. In such a case the function of the note λιχανός is such that "the 'nature of μελῳδία' somehow requires that it should leap forward at least as far as μέση, without touching down anywhere in between. Any smaller distance is melodically impossible or unintelligible, ἐκμελής".Andrew Barker, "The Journeying Voice: Melody and Metaphysics in Aristoxenian Science", Apeiron: A Journal for Ancient Philosophy and Science 38, no. 3 (September 2005): 161–84. Citation on 173.
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The structure of many popular songs is that of a verse and a chorus, the chorus serving as the portion of the track that is designed to stick in the ear through simple repetition both musically and lyrically. The chorus is often where the music builds towards and is often preceded by "the drop" where the base and drum parts "drop out". Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, and a chorus that contrasts melodically, rhythmically and harmonically with the verse.J. Shepherd, Continuum Encyclopedia of Popular Music of the World: Performance and production (Continuum, 2003), p. 508.
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John Williams wrote a series of themes and motifs for certain characters and ideas in each of the Star Wars films. The multiple installments allowed Williams to compose some fifty themes (and counting) and reprise some of them extensively, continually developing them over a long period of screen time. Williams introduced a few themes in each episode (six themes on average) and focused on making each of his principal themes long-lined and melodically distinct from the others so as to increase their memorability. Williams occasionally forges small connections between some of these themes, sometimes for a narrative purpose and sometimes in the more general favor of cohesion.
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The sound of the instrument's tremolo being switched off after the introduction can be heard. The quick transition from G chord to a flat-III (B) is unusual, especially as its F-natural note is melodically sustained against the following D-Major chord (with its concomitant F) creating "the most bluesy moment of the entire song." The verse opens with three repetitions of a simple four note motif ("Though you've gone away this morning, you'll be back again tonight") during which the chords mirror the lyrics in shifting from ii (Am chord) on "gone away" to IV (C chord) on "back again" to the tonic (G chord) on "tonight."Dominic Pedler.
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Written in spring 1962, while Paul McCartney was in Hamburg, this song is sometimes considered to be a dedication to his then-girlfriend Dot Rhone. However, McCartney denies this: John Lennon commented: Melodically typical of McCartney's later writing style, the song demonstrates two notable exceptions to the contemporaneous model: during the opening chorus the chord D♭7 is placed incongruously between G and D (on write), and during the song’s title phrase a sudden shift to B♭ occurs underneath "P.S. I love you" which Ian MacDonald described as "a dark sidestep". Lennon contributes a single note harmony emphasising the beginning of each stanza.
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Sarah Montgomery of The Fader referred "Split Stones" to a "dance-y, pop song" that "takes samples from outdoor excursions and is inspired by nature in the same way 'Alaska' was". Lisa Nguyen of Paste called it an "invigorating track" and felt it "offers encouraging lyrics, using the singer's melodically husky voice and rhythmic instrumentals as a vehicle". Chris DeVille of Stereogum wrote that the song features "an electronic backbeat that wallops with more force than usual", and opined that "the chorus sounds very big and is really pretty". Caitlin White of Uproxx noted that she "fell for [the song] immediately" after unlocking it through the marketing campaign.
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" Andrew Sacher from BrooklynVegan stated, "It's just Kurt and a guitar, and it's just a minute and a half long, but that's all Kurt needed for the magic to come through. Lyrically cynical and melodically beautiful, it holds its own against a large handful of Nirvana's properly recorded songs. ... Nirvana may be best known for being loud and heavy, but they were just as good at soft, quiet music and "Opinion" one of the finest examples of that." Rolling Stone writer Bienstock found the lyrics of "Opinion" to be pointed, but felt it "comes off as little more than a sketch of a song.
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POUND recently reunited with its original members Corey Ray DiGiovanni and Pat Gasperini. Currently rehearsing for shows together with Sugar Red Drive drummer PJ Gasperini (Pat's son), they have decided to record and release an album consisting of new material and some original POUND music that pre dates their signing with Island Records. Pound is best known for the 1999 release of "Same Old Life" as well as their chart topping Billboard hit “UPSIDE DOWN”, which reached #15 on Mainstream Rock charts. The new album is a blend of melodically driven, hard edged radio rock with intricate woven vocal layers that brands the band with a sound all its own.
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A duet with rapper Eve, and produced by Dr. Dre, it is an adaptation of a 1990s pop song by British musicians Louchie Lou & Michie One, which itself is a very loose cover lyrically but closer melodically of "If I Were a Rich Man", from the musical Fiddler on the Roof. "Rich Girl" reached the US and UK top ten. The album's third single "Hollaback Girl" became Stefani's first US and second Australian number-one single; it reached top ten elsewhere. The song was the first US music download to sell more than one million copies, and its brass-driven composition remained popular throughout 2005.
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No musical instrument is used by women during their singing of the rhythmically and melodically complex little sister tohé song cycles. The purpose of the añikuí tohé appears to be similar to the stated reasons for the community wide tohé, for curing, and for personal insight into current issues or problems affecting the community, the singer, or her family. The practice of the añikuí tohé demonstrates the importance of women in Pumé society and remains an important cultural element of the Savanna and River Pumé. The Pumé have a number of effective plant-based medicines that are used in treating a range of illnesses and minor traumas.
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6 Morrison comments that even in this early work, conventional sweetness is enlivened by subtle dissonance. ;Barcarolle No 2 in G major, Op. 41 (1885) The second barcarolle, dedicated to the pianist Marie Poitevin, is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail. Duchen writes of the work as complex and questing, harmonically and melodically, and points to the influence of Saint-Saëns, Liszt and even, unusually for Fauré, of Wagner. The work opens in 6/8 time like the first, but Fauré varies the time signature to an unexpected 9/8 in the middle of the piece.
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To remain equal to the Jesuits, the Church opened many schools that taught laymen to sing and read neumes. They borrowed from Serbian, Bulgarian, and other Orthodox chants and standardized both the notation and teaching method, mixing them together to form a distinctive Kyivan chant style. Eventually, during the Polish Renaissance, the Kyivan Orthodox Church fully adopted the polyphonic styles popular at the time. They retained the Znamenny chant, 8 echoi (glassy, melodically-based Orthodox modes based upon the Byzantine idea), and scale, but adopted the descant style of their Catholic counterparts. The notation also changed to a 5-line staff (unlike the contemporary 4-line staff) with square note heads.
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On July 29, 2015, Los Angeles-based duo Grey released their remix of "Beautiful Now" on SoundCloud as a free download. The remix is known for its significant deviation in sound from the original, using a vocoder to give Bellion's vocals a different melody and robotic distortion, and accompanying them with a darker and melodically distinct background inspired by Egyptian music. The remix quickly began receiving coverage across electronic music websites and communities, and was acclaimed for its uniqueness and originality. It also became notable for only being Grey's first release despite its professionality, leading to speculation that the alias belonged to an experienced group of producers now going anonymous.
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Neil Pretorius of About.com said the "slower, groovier and much more melodically inclined" approach of Necrocacy provided for a more mature and accessible sound that puts it on par with Carcass's Surgical Steel as one of the best death/goregrind releases of the year. Praising the album's mixture of "profane ferocity" and "clinical, Heartwork-esque production", David Perri of Brave Words & Bloody Knuckles said, "Exhumed has crafted and executed what will surely be amongst the top 1 percent of 2013". Neil Arnold of Metal Forces expressed the opinion that with Necrocacy, "the Californian psychopaths have simply cemented their place alongside Carcass as leaders in a field swamped in clogged up gore".
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Under this orchestra Rafig Babayev created an ensemble of soloists, which was very popular in Azerbaijan and in other foreign countries. Such professional musicians as Gennadiy Stepanishev (flute, saxophone), Rauf Sultanov (bass guitar), Alesger Abbasov (guitar), Siyavush Kerimi (oud, keyboard instruments), Jamil Amirov (keyboard instruments), Tofig Jabbarov (percussion instruments), Firuz Ismaylov (synthesizer), Ramin Sultanov (percussion instruments), Emil Hasanov (bass guitar), Vagif Aliyev (percussion instruments) played in this jazz ensemble at different times. In 1991, Rafig Babayev organized folkloric jazz group "Jangi" and created recording studio, which helped the group in realization of musical projects. The group performed colorful compositions, using folk instruments, enriching them with uncommon harmony, melodically combining music of the Eastern and the Western civilizations.
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"All About That Bass" has also been described as melodically similar to the 2006 song "Happy Mode" by South Korean group Koyote, and both songs have been noted for their similarity to the 1989 song "Contact" by American rock band Phish. According to some, including the singer, the lyrics of "All About That Bass" provide a callout to embrace inner beauty, and to promote a positive body image and self- acceptance. The line "I'm bringing booty back" references Justin Timberlake's "SexyBack" (2006), and the line "All the right junk in all the right places" OneRepublic's "All the Right Moves" (2009). In the song, Trainor criticizes the fashion industry for creating unreachable standards of beauty.
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Writing for Allaboutjazz.com, John Kelman said: > The twin-horn frontline of Myron Walden (alto saxophone, bass clarinet) and > Melvin Butler (tenor saxophone), is another definitive. The two mesh so > synchronously that together they create a denser, more singular sound when > playing melody, but are equally capable and individual as improvisers of > strength and subtlety... As much as Blade's loosely expressive playing > defines any project with which he's associated, it's the combination of > transcendent but never invasive spirituality, the writing's blend of horns > and guitar into a uniquely identifiable texture, and the group's ability to > be at once melodically direct and improvisationally sophisticated, that > creates that unmistakable sound instantly apparent on Season Of Changes.
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In reviewing the Signature Theatre production, theatre critic Peter Marks of The Washington Post wrote that it is an "admirable if not consistently embraceable musical", and that it "comes across as something short of electrifying with the addition of song and dance. It makes at times for a jarring art-house spectacle, as in the creepy contributions of Claire's eunuchs, harmonizing in falsetto. And yet there is also fine craftsmanship here, courtesy of director Frank Galati (Ragtime) and a design team expertly conjuring a laconic, Brechtian physical realm..." The score is"...a melodically cohesive web of Middle European waltzes and choral numbers that befit the cynical strands in the story and the formality of Swiss society."Marks, Peter.
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All the psalms, and the Magnificat, are based on melodically limited and repetitious Gregorian chant psalm tones, around which Monteverdi builds a range of innovative textures. This concertato style challenges the traditional cantus firmus,Kurtzman 2007, pp. 147–53 and is most evident in the "Sonata sopra Sancta Maria", written for eight string and wind instruments plus basso continuo, and a single soprano voice. Monteverdi uses modern rhythms, frequent metre changes and constantly varying textures; yet, according to John Eliot Gardiner, "for all the virtuosity of its instrumental writing and the evident care which has gone into the combinations of timbre", Monteverdi's chief concern was resolving the proper combination of words and music.
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Uncle Meat featured a variety of music styles, including orchestral symphonies, free jazz, blues, doo wop and rock and roll. The album also contains spoken word segments featuring Suzy Creamcheese, and features a stronger focus on percussion instrumentation than previous works by Zappa, as well as emphasizing his strengths as a composer and arranger. "Nine Types of Industrial Pollution" is melodically formless rooted in percussion instrumentation, and features a guitar solo that was sped up in post production. "Dog Breath, in the Year of the Plague" is delivered as a rock and roll song, with the same theme being repeated as an instrumental later in the album, performed by keyboards, percussion and acoustic guitar.
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Although Bertrand only wrote one Italian madrigal—actually a villanella—he was clearly influenced in his chanson-writing by the Italian concern for text- painting and careful underlining of words and phrases with appropriate and symbolic melodic and harmonic material. He was careful to use contrasting textures and meters, for example switching from duple to triple meter several times during the course of a composition. Bertrand's sacred works, contained in his three publications of Airs spirituels and sonets chrestiens, are closely related stylistically to the contemporary psalm-settings by the Huguenots: they are simple both melodically and harmonically, and usually maintain a homophonic texture throughout. The melodies are mostly from Gregorian chant.
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The eleven-track album was released on 12"-vinyl, compact disc and digital download with Cleopatra Records, on 20 July 2018. It was recorded at Simple Sounds Studios in Oceanport, New Jersey, produced by Andy Bova and Justin Bornemann, mixed by Andy Bova and mastered by Jürgen Engler. Lyrically, Night Swimming focuses on social anxiety, heartache and loss, and love and optimism. On the record's songwriting, Emily Bornemann says they were "attracted to rawness and simplicity, but melodically we lean[ed] towards a pop aesthetic," and J. Bornemann notes the album was "an attempt to capture all the different aspects of ourselves and create something that we would want to listen to.
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" Beatle authors Roy Carr and Tony Tyler used "Beware My Love" as an example of Wings at the Speed of Sound being strong melodically. Madinger and Easter described it as one "of the best songs on the LP." Rodriguez was even more effusive in his praise of the live version of the song on Wings Over America, which is a minute and half shorter than the studio version, praising Jimmy McCulloch's guitar playing, Laine's piano playing and English's drum rolls. Larry Rohter of The Washington Post described the performance on Wings Over America as "rollicking" and "exciting." Ben Fong-Torres described McCartney's live performance of the song as "reaching back for some of that Little Richard inspiration.
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"There is no such thing as a diminished unison, because no matter how you change the unisons with accidentals, you are adding half steps to the total interval." Melodically, an augmented unison very frequently occurs when proceeding to a chromatic chord, such as a secondary dominant, a diminished seventh chord, or an augmented sixth chord. Its use is also often the consequence of a melody proceeding in semitones, regardless of harmonic underpinning, e.g. D, D, E, F, F. (Restricting the notation to only minor seconds is impractical, as the same example would have a rapidly increasing number of accidentals, written enharmonically as D, E, F, G, A). Franz Liszt's second Transcendental Etude, measure 63.
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" In his review for Rolling Stone, Will Hermes wrote, "Queens of the Stone Age always sounded like the best glam-band name ever, and while Josh Homme's free-ranging heavy rock hypnotists were never quite that, they come as close as ever on Villains." In a more reserved review for Pitchfork, contributor Zoe Camp concluded that, "Villains isn’t always so smooth and several sections fall flat, like the staccato-spiked funk that surfaces midway through “The Evil Has Landed” or the melodically static refrains on “Fortress.” Nevertheless, the stalled moments don’t detract from the fun of the ride. Queens’ final destination is what matters—and a beeline into the unknown sure beats another go at the merry-go-round.
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His style of piano is comparable to Coltrane's maximalist style on saxophone. Writing in 2019, Sami Linna at the University of the Arts Helsinki, noted that Coltrane described the two different directions in his playing as: "playing chordally (vertically) or melodically (horizontally)". Linna suggests: "Tyner would eventually find a way of dealing with the two directions simultaneously, in a manner that was supportive and complementary yet original and slightly different from Coltrane's approach." After 1960 Coltrane did not hire anyone at the piano if Tyner was not available; between Tyner joining the group (around the end of May 1960) and leaving (in December 1965), there was nobody else at the piano accompanying Coltrane.
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The new gospel music composed by Dorsey and others proved very important among quartets, who began turning in a new direction. Groups such as the Dixie Hummingbirds, Pilgrim Travelers, Soul Stirrers, Swan Silvertones, Sensational Nightingales and Five Blind Boys of Mississippi introduced even more stylistic freedom to the close harmonies of jubilee style, adding ad libs and using repeated short phrases in the background to maintain a rhythmic base for the innovations of the lead singers. Melodically, gospel songs from this era were more diatonic and conjunct. As "the spirit leads the vocalist" the melodies would become more chromatic and disjunct, evoking pure spiritual emotion that was congruent with the accompanying body or musicians.
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A longer and more elaborate version was recorded for the film which runs for a little more than four minutes and includes the National Philharmonic Orchestra, the Pontarddulais Male Choir and Waters singing the lyrics melodically, rather than reciting them as on the album version. Helping extend the song through the entire end credits is an instrumental bridge, composed of the chords and melody from "Southampton Dock", from The Wall's eventual successor, The Final Cut. This version was never released officially, but was later reused for the credits for The Wall – Live in Berlin. It is in E-flat major rather than C, while "Southampton Dock" would be finalized in F major.
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I Did It Again saw Spears working with several R&B; producers, which led to "a combination of bubblegum, urban soul, and raga." Her third studio album, Britney derived from the teen pop niche "[r]hythmically and melodically", but was described as "sharper, tougher than what came before", incorporating genres such as R&B;, disco and funk. Spears has explored and heavily incorporated the genres of electropop, trip hop in her earlier albums as well as dance music in her records, as well as influences of urban and hip hop which are most present on In the Zone and Blackout. In the Zone also experiments with Euro trance, reggae and Middle Eastern music.
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And it does so while holding its own against that masterpiece, perhaps because it was conceived after revisiting that album on the road." Joe Lynch for Billboard writes, "Look Now, however, hardly lacks in vitality. With his deft pen providing sharp studies of romance and murky motives, the album sees Costello tapping top-shelf studios such as L.A.'s EastWest and NYC's Electric Lady for this collection of lush, sophisticated pop." Pitchfork stated: "Look Now plays at first like a simple set of songs that eschews grand concepts for immediacy... Despite their stateliness, these tunes are startlingly direct, both emotionally and melodically. They carry only the vaguest air of Costello’s signature cleverness and no trace of anger.
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In 1995, comedians Vic Reeves and Bob Mortimer performed a cover of the song on their show The Smell of Reeves and Mortimer. "Never Let Her Slip Away" was also featured on the soundtrack of the film Alan Partridge: Alpha Papa (2013), as a personal favourite of the principal character. In conversation on the podcast WTF with Marc Maron, Dave Grohl, singer, songwriter and guitarist of the renowned rock band Foo Fighters, called "Never Let Her Slip Away" "the most beautiful piece of music ever written," and "maybe one of the most melodically sophisticated songs I’ve ever heard in my entire life," and noted his plans to record a cover version of the song.
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This was Reich's first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. The player plays the pulsing note for as long as they can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held.
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Most notably, the William Dixon manuscript, dated 1733, from Stamfordham in Northumberland, was identified as Border pipe music by Matt Seattle in 1995, and published by him with extensive notes.The Master Piper – Nine Notes That Shook the World, William Dixon (1733), 3rd edition, edited Matt Seattle 2011, . The book contains forty tunes, almost all with extensive variation sets. Some of these are limited to a single octave, and many of this group correspond closely to tunes for Northumbrian smallpipes known from early 19th-century sources – "Apprentice Lads of Alnwick" is one of these; others are melodically and harmonically richer – using the full nine- note compass and the G major subtonic chord – a fine example of this group is Dorrington.
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Joe Copplestone of PopMatters concluded that Diamandis would have to "tone down" these vocal techniques on future releases as not to overshadow "melodically inventive" music. A negative review came from The Independents Andy Gill who panned "Shampain" and "Hermit the Frog" as "every bit as annoying as their punning titles, with queasy, prancing piano and synth figures". He found certain vocal techniques in "Mowgli's Road" and "I Am Not a Robot" to be "infantile", and evaluated the lyrics of "Girls" and "Hollywood" as shallow. At Drowned in Sound, Mary Bellamy described the album as split between original songwriting and commercial pop production "at the expense of achieving anything great in either camp".
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Medium's Richard LaBeau panned the track as "overproduced and lyrically nonsensical [...] it assuredly ranks toward the bottom of any list of Bond themes and Madonna singles". In his book Madonna: The Complete Guide to Her Music, author Rikky Rooksby described it as "melodically uninteresting and harmonically repetitious". He felt that the stuttered editing by Ahmadzai did not allow the song to gain its full potential but complimented the strings and the chords. Rooksby concluded by saying that "Die Another Day" reveals much about the decline in songwriting quality from the early Bond songs and was not much of an improvement over "The World Is Not Enough"; he said that the Sigmund Freud line was the "wittiest line" on the whole of American Life album.
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Olivier Messiaen in 1986 Olivier Eugène Prosper Charles Messiaen (, , ; December 10, 1908 – April 27, 1992) was a French composer, organist, and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex; harmonically and melodically he employs a system he called modes of limited transposition, which he abstracted from the systems of material generated by his early compositions and improvisations. He wrote music for chamber ensembles and orchestra, vocal music, as well as for solo organ and piano, and also experimented with the use of novel electronic instruments developed in Europe during his lifetime. He travelled widely and wrote works inspired by diverse influences ranging from Japanese music, the landscape of Bryce Canyon in Utah and the life of St. Francis of Assisi.
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Of the two original songs, "Song to Woody" is the best known. According to Clinton Heylin, the original handwritten manuscript to "Song to Woody" bears the following inscription at the bottom of the sheet: "Written by Bob Dylan in Mills Bar on Bleecker Street in New York City on the 14th day of February, for Woody Guthrie." Melodically, the song is based on one of Guthrie's own compositions, "1913 Massacre", but it is possible Guthrie fashioned "1913 Massacre" from an even earlier melody; like many folk artists, including Dylan, Guthrie would often adapt familiar folk melodies into new compositions. Guthrie was Dylan's main musical influence at the time of Bob Dylan's release, and indeed on several of the songs, Dylan is apparently imitating Guthrie's vocal mannerisms.
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He has also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing. Other notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments"; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd ['Time'] (1979–81) for female singers and ensemble; De Snelheid ['Velocity'] (1982–83), for 3 amplified ensembles; De Materie ['Matter'] (1984–88), a large four-part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and La Passione (2000–02) for female voice, violin and ensemble.
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"Here Today" is told from the perspective of an ex-boyfriend narrator who warns the listener of the inevitable heartbreak that will result from a newfound love. The track was an experiment in basslines, as Brian recalled, "I wanted to conceive the idea of a bass guitar playing an octave higher than regular, and showcase it as the principal instrument on the track." Asher said, "'Here Today' contains a little more of me both lyrically and melodically than Brian." Perone noted that the high-pitched electric bass guitar bring to mind similar parts in "God Only Knows", culminating in what sounds like the vocal protagonist of "Here Today" warning the protagonist of "God Only Knows" that what he sings stands no chance at longevity.
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"The Way" is a song recorded by American singer Ariana Grande, featuring rapper Mac Miller, released as a single from Grande's debut studio album Yours Truly (2013). It was released on March 26, 2013, by Republic Records, and written by the song's producer Harmony Samuels, alongside Amber Streeter, Al Sherrod Lambert, Jordin Sparks, Brenda Russell, and Miller. The song's backing track is based on the piano melody from Russell's 1979 song "A Little Bit of Love", and is melodically and lyrically similar to Big Pun's 1998 song "Still Not a Player", which also samples "A Little Bit of Love". "The Way" peaked on the US Billboard Hot 100 at number 9, becoming Grande and Miller's first top 10 song on the chart.
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Also, four tracks on the album were going to have more than 160 beats per minute (bpm), rare in ATB's songs, but they were not anything close to the hardcore genre. The reason for some of the songs' high bpm was that for the first time in ATB's repertoire, he has incorporated drum and bass elements into some of the songs such as "What About Us" and "My Everything". The opening to the song "Gravity" is similar melodically to the opening track on ATB's first album Movin' Melodies, entitled "The First Tones". On March 30, 2009, ATB published a preview on YouTube that featured 10 selected tracks from the album, including "What About Us", "My Everything", "Summervibes with 9PM" and others.
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The most defining characteristic of breakcore is the drum work, which is often based on the manipulation of the Amen break and other classic jungle and hip-hop breaks, at high BPM. The techniques applied to achieve this differs from musician to musician, some preferring to cut up and rearrange the breaks, while others merely distort and loop breaks or apply various effects such as delay and chorus to alter the break's timbre. Melodically, there is nothing that defines breakcore. Classic rave sounds such as acid bass lines, Hoovers and Reese bass are common, but breakcore is mostly known for sampling sounds from all over the musical spectrum to accommodate the frantic and fast-paced nature of the rhythm section.
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In his book Revolution: The Making of the Beatles' White Album, David Quantick recognises the song's musical qualities – describing it as "a powerful song, full of angry climaxes" with "a fine [vocal] performance ... [and] a charming baroque feel" – yet he bemoans its "arrogant" and misanthropic message. Quantick concludes: "Although the Beatles preached peace and love and meant it, large parts of the White Album indicate that they could be a bit selective about it." Ian Inglis considers that the intentions behind Harrison's send-up of capitalist consumerism were reasonable, and acknowledges the sinister connotations that the song gained through Manson. He says that the track fails, however, melodically and lyrically, and lacks cohesion in its musical arrangement as well as "any subtlety or charm".
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On release, Billboard magazine described "Bangla Desh" as "a musical appeal to help our fellow-man" that "should find immediate and heavy chart action"."Spotlight Singles", Billboard, 31 July 1971, p. 52 (retrieved 13 October 2013). In his contemporary review for the NME, Derek Johnson considered the song to be "[n]ot so strong melodically as 'My Sweet Lord', but still nagging and insistent", and added: "one can immediately detect the despair and pity in [Harrison's] voice as he sings of the appalling plight of the East Pakistanis ... his lyric is bound to cause some heart-searching." A wave of public goodwill accompanied the single's release in 1971, as was the case with the two benefit concerts,Shankar, p. 220.
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In a mixed review, Jon Pareles of The New York Times found the album "tense, high- strung and obsessive", and said that it was neither "ingratiating or seductive". Richard Cromelin of the Los Angeles Times observed that Beyoncé "heads into a new, more challenging terrain", but "some of the experiments don't click". Although he found the album "solid", Mike Joseph of PopMatters said that "aside from its relatively short running time, it sounds suspiciously under produced". Brian Hiatt of Rolling Stone averred that "while the mostly up-tempo disc never lacks for energy, some of the more beat-driven tracks feel harmonically and melodically undercooked, with hooks that don't live up to 'Crazy in Love' or the best Destiny's Child hits".
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Personnel and line-up changes would further alter the band's sound. The label would not allow the band to work again with record producer Ulrich Wild as they had for their prior two albums, instead arranging for them to work with Josh Abraham, a producer known for working with more commercially melodically mainstream bands such as Staind, Filter, and Velvet Revolver. The album would also be the only album to feature Josh Freese of the band A Perfect Circle, on drums. Freese was a last minute addition to recording, after the resignation of drummer Ken Jay, who quit two days before the band was scheduled to enter the studio to start the recording process, due to being unhappy with the direction the album was heading.
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Melodically, "Don't Hold Your Breath" consists of an up-tempo common time signature of 112 beats per minute. It uses a simple three-note chord progression of D–Fm–E. The style of the production and arrangement were compared to songs by Gloria Gaynor, according to Robert Copsey from Digital Spy. Lyrically, the song's theme and content was described as "Scherzinger staving off an ex’s advances" and making it clear that the relationship is officially over. As well as incorporating elements of club music, her tone is scornful on lines such as "You can’t touch me now, there’s no feeling left/ If you think I’m comin’ back, don’t hold your breath/ What you did to me, boy I can’t forget".
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Beginning in the late 1960s and early 1970s, Górecki began to compose larger scale works. At the same time, his music became both harmonically and melodically simpler in his writing than his previous serial compositions. Three primary musical influences also became apparent in his compositional style: Polish folksong, Catholic chant and the Polish music of the past, primarily the works of Karol Szymanowski. Out of these influences evolved two compositional kernels in Górecki's music: Górecki's "motto" motif (a rise of a minor third, usually on the first three pitches of the Aeolian or Dorian scales); and the "Skierkowski turn" (the Górecki motto followed by a descending half-step) named for the Polish folk music collector who influenced the music of Karol Szymanowski.
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Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Acoustical Society of America – Large grand and small upright pianos by Alexander Galembo and Lola L. Cuddly Hanna Järveläinen et al. 1999. "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems" Other oscillators, such as cymbals, drum heads, and other percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.
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Speaking about the lyrical themes on display in "Till It's Gone", Yelawolf has described the song as "very aggressive" and "very dark", and notes that "It’s juxtaposed with this melody and the hook that gives it the power". About the music, he has described the beat as "dope, swampy, alligator, snake-infested, gangrene, [and] dark". PopMatters writer Charles Pitter described the song as "melodically acoustic" in his review of Shady XV. Yelawolf has claimed that the song was "the first song on the album that ... tied the project together and made the perfect sense", noting that its guitar-based style meant it received airplay on alternative rock, country and hip hop radio stations simultaneously. The song has been compared stylistically to Trunk Muzik 0-60 single "Pop the Trunk".
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Some of the sweet moments in its strongest tracks, however, are lost in others, as is the nature of an album with standout tracks. Even yet, Little Dragon ended Nabuma on a note of tastefulness that shows their confidence has been a positive development." Pitchforks Harley Brown found that the album's "slow jams are perfectly sexy, but they lack originality", while remarking, "It's great the band was able to find a throughline between the comfortable and the experimental this time around, but on Nabuma Rubberband they let go of a little too much of themselves in the process." Uncuts Sam Richards commented that "the likes of 'Mirror' and 'Paris' are melodically and emotionally direct but with plenty going on beneath the surface, while the restrained tempos serve to show off Nagano's nicely maturing voice.
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Several publications focused on Victoria Legrand's vocals, with Jody Rosen of Rolling Stone complimenting Legrand's "dusky torch singing" and The Boston Phoenix praising her voice as "coiling like smoke in the arches of the church". Robert Christgau, writing in MSN Music, selected "Lover of Mine" and "Norway" as highlights and awarded the album a one-star honorable mention rating, indicating "a worthy effort consumers attuned to its overriding aesthetic or individual vision may well like." In a negative review, Tom Hughes of The Guardian felt that Teen Dream is "carefully, even beautifully arranged", but nonetheless "oddly icy and melodically a little ineffectual". Audra Schroeder of The Austin Chronicle called the album "solid" but felt that it was "not Beach House's masterpiece," quipping that the duo "still got some gold dust to kick up".
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According to Ernst the major and minor thirds contain "latent" tendencies towards the perfect fourth and whole tone, respectively, and thus establish tonality. However, Carl contests Kurth's position, holding that this drive is in fact created through or with harmonic function, a root progression in another voice by a whole-tone or fifth, or melodically (monophonically) by the context of the scale. For example, the leading tone of alternating C chord and F minor chords is either the note E leading to F (if F is tonic), or A leading to G (if C is tonic). In works from the 14th- and 15th-century Western tradition, the leading tone is created by the progression from imperfect to perfect consonances, such as a major third to a perfect fifth or minor third to a unison.
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1868; Fig.2 Perspective view showing the relative position of all the Keys Poole appreciated "all musical ratios derived from the primes 3, 5, and 7" and more tentatively, 11, and he also asserted the melodic beauty of microtonal commatic shifts. He described a 7-limit double diatonic just scale to distinguish it from the usual diatonic scale, which he called the triple diatonic, with common tones from tonic, dominant and subdominant major triads. The new scale replaced subdominant pitches with the "perfect seventh and ninth of the dominant harmony" to correspond better with what he heard harmonically and melodically in all kinds of music. Poole proposed using five parallel chains of fifths from 1/1, 5/4, 25/16, 7/4 and 35/16, which he distinguished by type and case.
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In a mixed review, The New York Times critic Jon Caramanica praised Swift's songwriting but felt the songs occasionally end up burdened with formulaic, clichéd indie pop that turned out to be "frail and unversatile". In his Substack-published "Consumer Guide" column, Robert Christgau was most impressed and touched by youth-themed "Seven" and "Betty" than the more adult songs, which he summarized as "yet another bunch of melodically fetching, lyrically deft pop songs that are fine as far as they go". Despite being "striking", he singled out "The Last Great American Dynasty" as the only intolerable song for how it reminds him "all too much of Taylor Swift the showbiz plutocrat". The Guardian named it one of the best albums made during the lockdown, and Paste ranked it the best album of July 2020.
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"The voices of the band, Agnetha's high sauciness combined with round, rich lower tones of Anni-Frid, were excellent...Technically perfect, melodically correct and always in perfect pitch...The soft lower voice of Anni-Frid and the high, edgy vocals of Agnetha were stunning", raved Edmonton Journal. During the next four weeks they played a total of 17 sold- out dates, 13 in the United States and four in Canada. The last scheduled ABBA concert in the United States in Washington, D.C. was cancelled due to Fältskog's emotional distress suffered during the flight from New York to Boston, when the group's private plane was subjected to extreme weather conditions and was unable to land for an extended period. They appeared at the Boston Music Hall for the performance 90 minutes late.
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A fixed rising-falling registral scheme is applied to the 25 notes in each cycle and a twenty-four-step "chromatic" scale of tempos is added, from slowest to fastest according to register (low to high) and returning to its starting point for the twenty-fifth note of each cycle. The entire 126-note melody is then fitted with a duration scheme derived from the retrograde of the fifth of the twelve "rhythm families" previously devised for Himmelfahrt. These melodically fixed notes differ from the practice of twelve-tone technique, and resemble the formula composition Stockhausen had used between 1970 and 2004 (Kohl 2012b, 481–84). At the end of each group, the component 3, 4, 5, 6, or 7 pitches are played in rapid "loops" or "ritornelli".
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In 2009 Broadrick compiled some of the JK Flesh tracks he created from 1997 to 1999 in an album named From Hell released under the title Krackhead, but it wasn't until 2012 that he fully embarked on the project. In an interview, Broadrick estimated around 17,000 electronic tracks that had created between 1990 and 2012 and were sitting in his archives. Regarding JK Flesh's inception, Broadrick said: JK Flesh performing in 2013 JK Flesh was also conceived as the antithesis of Broadrick's more melodically driven electronica project Pale Sketcher, with JK Flesh constituting "the angry, hateful, disenchanted side of [...] electronic beat-driven, bass-driven music". It is also an "electronic continuation" of Greymachine (his project with Aaron Turner from the band Isis), a "monolith of nasty, bloated sounding shit".
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The song follows in the footsteps of The Winner Takes it All as another ABBA song that had no "clearly defined verse/chorus structure". The song is deceptively complicated, perhaps due to its length, and is actually one of their simplest tunes melodically. Underneath the "rich tapestry" of the three-verse song is a "close-knit series of three-note building blocks", the last block in each statement being repeated at the start of the following one. For example, "I must have left my house/at eight because I always do" has the musical pattern 1-7-6/2-1-7 while the following phrase, "My train, I'm certain left/the station just when it was due" has a musical pattern of 2-1-7/3-2-1.
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In order to earn extra money there to complete his doctorate he also performed as a busking didgeridoo player. In 1983 Wiggins invented a keyed version of the didgeridoo, which allows it to be played melodically somewhat in the manner of an ophicleide, a keyed brass instrument which Wiggins was able to try at the Bate Collection, a musical instrument museum at Oxford University's Faculty of Music in St Aldate's, Oxford. The first prototype was made out of a cardboard wrapping paper tube and had first only one, then four valves, allowing the instrument to play a total of five distinct pitches. He used it in only one concert, after which it fell apart. He refined this model in 1990, using the machine tools at the Clarendon Laboratory at Oxford University.
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Albanian polyphonic traditional music is thought to have been composed in its beginnings of only two melodic lines: the taker and the turner. The turner likely played initially a non-specific melodic role, a style that can still be found in the two-voiced polyphonic singing of the women in Gjirokastër. It is thought that over time the turner have gradually become more precisely defined melodically; the tradition of two-voiced (taker and turner) in which the turner plays a clearly defined melodic role is found today among the men of Dukat. The next melodic line to evolve into Albanian traditional polyphony is thought to have been the drone, which seems to have adapted naturally to the two previous melodic lines, giving rise to the three-voiced polyphony.
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" Christianity Today's Robert Ham described The Struggle as Tenth Avenue North's "strongest album to date", writing, "These songs of struggle and redemption are melodically complex, often beautiful (much credit should be given to keyboardist Brendon Shirley on that front), and spiritually rich. It's a tough balance for any band to maintain, but Tenth Avenue North manages it with ease and grace." Cross Rhythms' Tony Cummings wrote that with "their fourth full length album, shows they've lost none of their winning ways with memorable pop rock hooks." Indie Vision Music's Jonathan Andre said the album was "full of lyrical goodness" and gives "a reason to long for our permanent home in the midst of living now with Christ by our side throughout our hurt we may endure in our earthly lives.
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She wrote many children's songs, ranging from the sweet and trivial "There are fairies at the bottom of our garden" to the melodically and harmonically passionate "Stars" in The Daisy-Chain. Her tenor song "Ah, moon of my delight" from In a Persian Garden has been recorded through the years by tenors such as John McCormack, Jan Peerce, Mario Lanza, Robert White, and Webster BoothMany of these recordings are still available; see "Ah Moon Of My Delight Mp3 Play and download", mp3truck.net, accessed 21 February 2014 In 1904 she was commissioned by Frank Curzon to compose the score for the Edwardian musical comedy Sergeant Brue, with a libretto by Owen Hall and lyrics by James Hickory Wood. The piece was a success in London and New York, but Lehmann was unhappy that Curzon added other composers' music to her score.
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Distinctive aspects include the almost immediate entrance of the violin at the beginning of the work (rather than following an orchestral preview of the first movement's major themes, as was typical in Classical-era concertos) and the through-composed form of the concerto as a whole, in which the three movements are melodically and harmonically connected and played attacca (each movement immediately following the previous one without any pauses).(citation needed) The concerto was well received and soon became regarded as one of the greatest violin concertos of all time. The concerto remains popular to this day and has developed a reputation as an essential concerto for all aspiring concert violinists to master, and usually one of the first Romantic era concertos they learn. Many professional violinists have recorded the concerto and the work is regularly performed in concerts and classical music competitions.
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But, even with these missteps taken into account, The Royalty is a distinctly winning effort that offers something for pop, folk and dance music lovers ... and their parents." New Release Tuesday's Sarah Fine said that she "...heard good things about The Royal Royal going into this album, and they definitely lived up to it. Combining passionate spiritual songs of adoration with the fresh sounds of a generation, Royal is a strong beginning in what I'm sure will be a lengthy and highly accredited carrier for the Finochio brothers." However, Fine warned that "This isn't contemporary worship to say the least and may not be for those seeking something more melodically traditional, but for fans seeking something similar to immerging worship acts like John Mark McMillan, Gungor and Daniel Bashta, you will not want to miss this release.
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In the rondo finale, the main theme resembles that of Mozart's third horn concerto (K. 447). Adena Portowitz has noted similar features between the finale of the K. 271 and K. 482 concerti. In another similarity to K. 271, the finale is interrupted by a lengthy and slow minuet episode before returning to the main theme for a lively finish (also recalling Count Almaviva's adagio pleadings for forgiveness leading to a buffa conclusion in Le Nozze di Figaro, a work that Mozart was working on at this time). The Andantino episode of K. 482 is melodically simpler than the parallel episode in K. 271, at least on paper, and less complex in form as well, consisting of two eight-bar phrases played by the orchestra and repeated with the solo, followed by a transition back to the rondo theme.
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Deborah Evans Price, of Billboard magazine reviewed the song favorably, saying that the single, "offers a pretty, lilting melody, understated acoustic instrumentation, and another nice performance from McGraw." She proceeds saying that what McGraw lacks in vocal gymnastics he has always, "more than made up for in personality, and the current single is no exception." However, she states that "while the melody tends to grow on you, there's not a whole lot going on otherwise that makes this track grab attention."Billboard, April 15, 2000 Kevin John Coyne of Country Universe gave the song a C grade, saying that it "goes nowhere lyrically or melodically, and there isn’t a drum beat or steel guitar hook around to save it.", and that the song is such an "easy listening number that’s so easy to listen to, it might put you to sleep."CountryUniverse.
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Michael Learns to Rock follow a basic verse-chorus song-form (which is typical of most pop songs) with lyrics comprising straight forward and short-length phrasing incorporating very basic sentence constructions. The verses consist of either one or two couplets and the chorus often contrasts the verse melodically, rhythmically, and harmonically, assuming a higher level of dynamics and activity. The essence of this style followed invariably by MLTR is evident from Jascha Richter's dead-pan response to a query in an interview as to what constituted the elements of a good song: "You got to have a chorus and a verse".Philippine Entertainment Portal Retrieved 2 October 2010 Many songs incorporate a bridge section following the second chorus section (most notably "25 Minutes", "That's Why (You Go Away)", "Someday", "Paint My Love", "Blue Night" etc.).
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The album includes five cover versions -- "Cherry, Cherry", "Taxman", "See See Rider", "96 Tears", and "Hey Joe"—that were recorded for a local dance club in Los Angeles called 9th Street West, but were never intended to be featured on (Turn On) The Music Machine. However, the group's record producers insisted that the songs would improve record sales, a decision that Bonniwell recalled made him feel "artistically crest-fallen and infuriated". Still, Bonniwell regarded the Music Machine's arrangement of "Hey Joe" as innovative, invoking a slow, moody nuance that is strikingly similar to Jimi Hendrix's more well-known version. All of the remaining tracks were penned by Bonniwell, including the melodically complex "Trouble", the reflective ballad "Some Other Drum", which hinted at the musical direction the group would later take, and "Wrong", a song written in a similar style to "Talk Talk".
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Commenting on Kelly's ability to move from a small group to a big band setting, saxophonist Benny Golson, also from Gillespie's band, said that "He kept his identity; yet he was able to add something to the band, not only melodically (which he was known for) but rhythmically. He would set up patterns – never interfering with the arrangement, but he was able to get into the cracks and he would always be adding something, giving it impetus, more energy." In 1956, Kelly recorded with vocalist Billie Holiday, including for the original version of her song "Lady Sings the Blues",Bratcher, Melanie E. (2007) Words and Songs of Bessie Smith, Billie Holiday, and Nina Simone. p. 118. Routledge. . as well as for the Blue Note debuts of saxophonists Johnny GriffinNastos, Michael G. "Johnny Griffin: Artist Biography". AllMusic. Retrieved January 5, 2014.
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Frusciante ultimately chose the chords he played in the intro so it could balance out the song's depressing atmosphere: "my brain interpreted it as being a really sad song so I thought if the lyrics are really sad like that I should write some chords that are happier."The Making of "Under the Bridge"; Red Hot Chili Peppers Greatest Hits "Naked in the Rain" was among the first songs that the band wrote for the album. The Chilli Peppers even played once at the end of the Mother's Milk Tour in 1990, while the intros for "The Greeting Song" and "Sir Psycho Sexy" were also teased during the end of that tour; however, neither song was completed or had lyrics. Blood Sugar Sex Magik integrated the band's typical punk and funk style, but moved away from that with more melodically driven songs.
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Double stops in orchestra are occasionally marked divisi and divided between the players, with half of the musicians playing the lower note and the other half playing the higher note.. Playing double stops is common when the violins play accompaniment and another instrument or section plays melodically. In some genres of historically informed performance (usually of Baroque music and earlier), neither split-chord nor triple-stop chords are thought to be appropriate and violinists will arpeggiate all chords (and even what appear to be regular double stops), playing all or most notes individually as if they had been written as a slurred figure. In some musical styles, a sustained open string drone can be played during a passage mainly written on an adjacent string, to provide a basic accompaniment. This is more often seen in folk traditions than in classical music.
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He then dances across some pond rocks, ending upon the shell-back of an unamused turtle, who carries the boy to land and curtly drops him off. The boy then skips over some more rocks to meet his sweetheart, who sits in a small boat; he fools around with his ukulele and drops it into the water. He dives down to rescue it, avoiding a rather menacing-looking fish, swimming past some smaller fish flopping melodically upon a submerged piano, and using the same instrument to entertain a disgruntled octopus, all without rising for breath! A fish-trumpeter joins in his number, as do a family of anchovies in a pair of fishing boots, a trombonist (whose instrument's slide is operated with the help of a wrecked ship's steering wheel), and another fish that may be a clarinetist.
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Some think the verses have an eerily and uncredited similarity (both musically and melodically) to John Lennon's Beatles' track "Don't Let Me Down" (recorded during the Get Back sessions) and the chorus was claimed, by some fans of the late 1980s hard rock genre, to have been culled from an unreleased song by Joel Ellis of Cats in Boots and Heavy Bones. Ellis has said that Lehua Reid (Richie Sambora's ex-fiancée) regaled him with anecdotes regarding Jon Bon Jovi and Richie Sambora "sitting at the piano for hours with a box full of tapes they got from people and going through the songs looking for stuff they could rip off and laughing about it, your [Ellis'] song was played over and over and over." In various Bon Jovi concert performances, this song was sometimes sung by Richie Sambora on lead vocals.
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He wanted to select the band's repertoire from songs with a particular, positive social message and philosophy, and arranged his new band's sound as to sound as raw and powerful as the typical all- trombone salsa sound in vogue at the time (made popular by Willie Colón), but with the addition of trumpets to lighten up the sound melodically. He composed some of the songs of this new group, which he named "La Selecta". Ever since its beginning, La Selecta has featured Coamo-born Sammy Marrero, considered by many as a gentlemanly character in salsa, as one of its singers. Marrero, who has always been strongly influenced by jibaro music, had a chance to show his dramatic singing style in early hits such as the anthemic Jíbaro Soy, a patriotic Puerto Rican song unusual for the times, Payaso, and El Buen Pastor.
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He has also played a role in providing alternatives to traditional performance practice techniques, often specifying forceful, rhythmic articulations, and amplified, non-vibrato, singing. Other notable works include Workers Union (1975), a melodically indeterminate piece "for any loud sounding group of instruments"; Mausoleum (1979) for 2 baritones and large ensemble; De Tijd [‘Time’] (1979–81) for female singers and ensemble; De Snelheid [‘Velocity’] (1982-3), for 3 amplified ensembles; De Materie [‘Matter’] (1984–88) a large four part work for voices and ensemble; collaborations with filmmaker and librettist Peter Greenaway on the film M is for Man, Music, Mozart and the operas Rosa: A Horse Drama (1994) and Writing to Vermeer (1998); and the recent La Passione (2000–02) for female voice and ensemble. Significant composers after Andriessen include Klaas de Vries (b. 1944), Jacob Ter Veldhuis, a.k.a.
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Some works from the 1970s did not employ formula technique—e.g., the vocal duet "Am Himmel wandre ich" (In the Sky I am Walking, one of the 13 components of the multimedia Alphabet für Liège, 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration Jill Purce), "Laub und Regen" (Leaves and Rain, from the theatre piece Herbstmusik (1974), the unaccompanied-clarinet composition Amour, and the choral opera Atmen gibt das Leben (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style. Two such pieces, Tierkreis ("Zodiac", 1974–75) and In Freundschaft (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions. This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label neue Einfachheit or New Simplicity.
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The contribution would be a turning point for the band; the track, which was much more melodic than much of the band's music up until that point, would attract the attention of Warner Brother's executive Tom Whalley, who pressured the band as a whole to pursue a melodic sound. Personnel and line-up changes would further alter the band's sound. The label would not allow the band to work again with record producer Ulrich Wild as they had for their prior two albums, instead arranging for them to work with Josh Abraham, a producer known for working with more commercially melodically mainstream bands such as Staind, Filter, and Velvet Revolver. The album would be the first to feature Eisen's songwriting contributions and performances, and the only to feature sessions drummer Josh Freese, of A Perfect Circle, due to Jay leaving the band two days before beginning the formal recording process.
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The song features a string arrangement from Ronson, which biographer Nicholas Pegg describes as being more similar to the style of Bowie's previous album Hunky Dory (1971) than the rest of Ziggy Stardust. The chorus is loosely based on "Over the Rainbow" from the film The Wizard of Oz, alluding to the "Starman"'s extraterrestrial origins (over the rainbow) (the octave leap on ("Star-man") is identical to that of Judy Garland's ("some-where") in "Over the Rainbow"). Doggett states that whereas "Over the Rainbow" "used its cathartic rise to introduce a refrain that was emotionally, and melodically, expansive", the leap in "Starman" "was followed by a more uncertain melody, reflecting his character's innate lack of confidence." Pegg notes that Bowie would change the chorus to "There's a Starman, over the rainbow" during his performances at the Rainbow Theatre in August 1972, effectively establishing the connection between the two songs.
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Pedler, p. 669 Gould terms these live studio takes "little character sketches": > Paul opens with a characteristically fluid and melodically balanced line > that sounds a high A before snaking an octave down the scale; George > responds by soaring to an even higher D and sustaining it for half a bar > before descending in syncopated pairs of 16th notes; John then picks upon > the pattern of George's 16ths with a series of choppy thirds that hammer > relentlessly on the second and flattened seventh degrees of the scale. The > second time through, Paul answers John's blusey flattened 7ths with bluesy > minor thirds and then proceeds to echo George's earlier line, spiraling up > to that same high D; George responds with some minor thirds of his own, > while mimicking the choppy rhythm of John's part; John then drops two > octaves to unleash a growling single-note line.
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Although he used twelve-tone technique, he avoided orthodoxy by occasionally using triads and octaves; he also liked to use the row melodically, giving the successive pitches in the same tone color (many other composers of 12-tone music split the row between different voices). In the third style period Kokkonen wrote the music that made him internationally famous: the last two symphonies, the ...durch einen Spiegel for twelve solo strings, the Requiem, and the opera The Last Temptations (1975) (Viimeiset kiusaukset), based on the life and death of the Finnish Revivalist preacher Paavo Ruotsalainen. The opera is punctuated with chorales which refer back to Johann Sebastian Bach, and which are also reminiscent of the African-American spirituals used for a similar purpose in Michael Tippett's oratorio A Child of Our Time. The opera was staged at the Metropolitan Opera in New York in 1983.
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The form of the musical work is done like an important dialog between the orchestra and solo instrument, respecting the following pattern: A-B1-C-B2. „A” and „C” being conducted by the orchestra, while the "B" noted moments are for the soloist, accompanied by the orchestra. (The recording for "Teleenciclopedia" show has only the „B2” section.) Harmonically and melodically, the scores distinguish itself by the modulation richness (Romantic style), chromatic passages, the contrast between melodic fragments build exclusively with jumps and gradually went. The best part remembered by the audience is the introductory piano section, composed on an unusual chord progression (D major chord - E\flat Chord with additional sixth as musical delay of the fifth, demanding to adapt the version of major tonality, the bass being I-II6-5 în D major, with a Neapolitan sixth for the second step of the chord progression.
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Paul McCartney, like Dunn, played bass melodically, without straying from the rhythm or the groove. In 1970, Lennon's wish was granted, in a sense, when Booker T. and the M.G.'s recorded McLemore Avenue (named for the street where Stax Records was located), on which they performed instrumental cover versions of thirteen of the songs on Abbey Road, condensing twelve of them into three medleys. The album's front cover is a parody of the front cover of Abbey Road; the back cover, with the blurred image of a mini-skirted woman at the edge of the photo, also mirrors that of Abbey Road. In 1970 Booker T. & the M.G.'s sat in with Creedence Clearwater Revival (CCR) for a jam, and they were the opening act for that band's January 31 performance at the Oakland Coliseum, which was recorded for the CCR album The Concert.
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A keyed didgeridoo (having keys somewhat like those of a saxophone, allowing the performer to play melodically) was developed in the late 20th century by the U.S. didgeridoo player Graham Wiggins (stage name Dr. Didg) and used on his CDs Out of the Woods (1995) (in the track "Sun Tan") and Dust Devils (2002) (in the tracks "T'Boli" and "Sub-Aqua"). Wiggins built the unique and somewhat unwieldy instrument in 1990 at the physics workshop of Oxford University, from which he earlier obtained his Ph.D. Multidrone didgeridoos have been created by William Thoren, a U.S didgeridoo player and crafter. The construction method and technique was developed in 2008 that gives a didgeridoo the possibility to produce multiple drone notes on a single didgeridoo. William has designed a larger cup-shaped mouthpiece with a concave face that is close to double the diameter of a regular didgeridoo mouthpiece.
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As a composer he helped lay the foundations for the development of modern Ukrainian music. His works are formally unsophisticated, often strophic, and usually in the minor mode; but his stage works (notably Prostachka (‘The Simpleton’), 1870) are representative of a popular folk genre that was melodically fluid, singable, pictorial and emotionally evocative. His instrumental writing does not extend far beyond the simple development of folktunes. Nevertheless, he composed 12 so-called symphonies (really overtures), the sixth of which Stanislav Lyudkevich based an orchestral piece and a piano trio. He also composed Zapovit (‘Testament’, 1868), a setting of Shevchenko’s poem for bass solo, double choir and orchestra, the operetta Podgoryane which was staged in Lemberg (now L′viv, 1864), and numerous sacred and secular choral works and songs. He is best known as the composer of the Ukrainian national anthem by the words of Pavel Chubinsky Shche ne vmerla Ukrayiny (‘Ukraine has not Perished’), which in 1917 was adopted by the new Ukrainian republican government.
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His most important work is a romantic national opera Knez Ivo od Semberije (Prince Ivo of Semberia), based on folklore, the subject matter being from the Serbian Uprising against the Turks at the beginning of the 19th century. In addition, he wrote a large number of plays and songs, and light operas as well, a symphony Miloš Obilić (which was lost), an overture Mena, piano pieces (Serbian Rhapsody, An Album of Compositions), songs with piano (the cycle Songs of Love), choral music, and music for tamburica bands. Being romantically sentimental, melodically inventive, frequently almost identical with folk music, these works made him extremely popular within the region of his origin in his day. Also, many poems by Milorad M. Petrović (1875-1921) that were set to music by Isidor Bajić became classics in their own right (Po Gradini mesečina, Zarudela šljiva Ranka, Moj jablane, Sve dok je tvoga blagog oka, and others) more than a century later.
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Paus is a noted representative of a reorientation toward tradition, tonality and melody. Although often tonal and melodically driven, Paus' music employs a wide range of both traditional and modernist techniques, including aleatoricism and serial procedures. Paus' harmonic writing is typically complex, combining non-traditional structures such as clusters and symmetrical harmonic shapes with triadic harmony. Several of Paus' works have been influenced by folk music and non-Western classical music, among them Lasuliansko Horo (2004) for violin and piano (Bulgarian folk music), the flute concertino A Portrait of Zhou (2012) (Chinese music), and Fanitull (Devil's Tune) from Two Lyrical Pieces (2007) for string orchestra (Norwegian folk music). As a teenager, Marcus Paus was active as a progressive rock guitarist, and this experience is at times reflected in some of Paus’ most energetic music, like the Scherzo II from his Cello Sonata (2009) and the 3rd movement, Mosh, from his Three Movements for Solo Cello (2012).
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Furthermore, it could be seen as a pedantic delay before reaching the emotional climax of a movement, which in the classical tradition had tended to be at the transition from the development section of the movement to the recapitulation; whereas Berlioz and other "modernists" sought to have the emotional climax at the end of a movement, if necessary by adding an extended coda to follow the recapitulation proper. Mendelssohn's solution to this problem was less sensational than Berlioz's approach, but was rooted in changing the structural balance of the formal components of the movement. Thus typically in a Mendelssohnian movement, the development-recapitulation transition might not be strongly marked, and the recapitulation section would be harmonically or melodically varied so as not to be a direct copy of the opening, exposition, section; this allowed a logical movement towards a final climax. Vitercik summarizes the effect as "to assimilate the dynamic trajectory of 'external form' to the 'logical' unfolding of the story of the theme".
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Singer Kate Jackson of the Long Blondes rated "So Unreal" as one of her favourite tracks, saying: "Siouxsie [has got] sharp lyrics and staccato vocals. Budgie is one of the most interesting drummers in the world. He uses drum sounds melodically as well as rhythmically which makes this drum/vocal duo work. You can hear their passion for each other in these recordings, they are so alive, despite being so minimal". David Cheal of the Financial Times wrote about the Creatures' rendition of "Wild Thing": "Perhaps the most striking of those 7,500-odd licensed recordings [of "Wild Thing"] is [the Creatures version] on which Siouxsie’s chilly multitracked vocals (at one point she chants, "Wild thing, I think I hate you") are accompanied only by Budgie's tribal-sounding drums. It’s a version that taps into the earthy, elemental spirit of the song, channelling those few minutes back in 1964 when Chip Taylor lost himself in the darkness of a New York studio".
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In ceremonies involving sandpaintings, the person to be supernaturally assisted, the patient, becomes the protagonist, identifying with the gods of the Diné Creation Stories, and at one point becomes part of the Story Cycle by sitting on a sandpainting with iconography pertaining to the specific story and deities. (McAllester 1981-1982) The lyrics, which may last over an hour and are usually sung in groups, contain narrative epics including the beginning of the world, phenomenology, morality, and other lessons. Longer songs are divided into two or four balanced parts and feature an alternation of chantlike verses and buoyant melodically active choruses concluded by a refrain in the style and including lyrics of the chorus. Lyrics, songs, groups, and topics include cyclic: Changing Woman, an immortal figure in the Navajo traditions, is born in the spring, grows to adolescence in the summer, becomes an adult in the autumn, and then an old lady in the winter, repeating the life cycles over and over.
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Kulintang is a modern term for an ancient instrumental form of music composed on a row of small, horizontally laid gongs that function melodically, accompanied by larger, suspended gongs and drums. As part of the larger gong- chime culture of Southeast Asia, kulintang music ensembles have been playing for many centuries in regions of the Eastern Indonesia, Southern Philippines, Eastern Malaysia, Brunei and Timor, Kulintang evolved from a simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sundanese people in Java Island, Indonesia. Its importance stems from its association with the indigenous cultures that inhabited these islands prior to the influences of Hinduism, Buddhism, Islam, Christianity or the West, making Kulintang the most developed tradition of Southeast Asian archaic gong-chime ensembles. Technically, kulintang is the Ternate, Mollucas, Maguindanao, Lumad and Timor term for the idiophone of metal gong kettles which are laid horizontally upon a rack to create an entire kulintang set.
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When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.Millington (2001) 294–5 This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold;Millington (2001) 286 still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser.Puffett (1984) 43 From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs.
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A grace note represents an ornament, and distinguishing whether a given singular grace note is to be played as an appoggiatura or acciaccatura in the performance practice of a given historical period (or in the practice of a given composer) is usually the subject of lively debate. This is because we must rely on literary, interpretative accounts of performance practice in those days before such time as audio recording was implemented, and even then, only a composer's personal or sanctioned recording could directly document usage. As either an appoggiatura or an acciaccatura, grace notes occur as notes of short duration before the sounding of the relatively longer-lasting note which immediately follows them. This longer note, to which any grace notes can be considered harmonically and melodically subservient (except in the cases of certain appoggiaturas, in which the ornament may be held for a longer duration than the note it ornaments), is called the principal in relation to the grace notes.
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The solo violin enters playing the tritone, which was known as the diabolus in musica ("the Devil in music") during the Medieval and Baroque eras, consisting of an A and an E—in an example of scordatura tuning, the violinist's E string has actually been tuned down to an E to create the dissonant tritone. The first theme is heard on a solo flute,[IMSLP full score, page 3] followed by the second theme, a descending scale on the solo violin which is accompanied by soft chords from the string section.[full score, page 4, 4th bar] The first and second themes, or fragments of them, are then heard throughout the various sections of the orchestra. The piece becomes more energetic and at its midpoint, right after a contrapuntal section based on the second theme,[full score, page 13, rehearsal letter C] there is a direct quote[full score, page 16, rehearsal letter D] played by the woodwinds of Dies irae, a Gregorian chant from the Requiem that is melodically related to the work's second theme.
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Finally, following a C-major passage played in rhythmic unison, there is a brief, quiet, open- string pause for breath marked "Andante con scratchy (as tuning up)," followed by a final fff eruption marked "Allegro con fistiswatto (as a K.O.)." According to McDonald, the final movement, The Call of the Mountains, is "music that epitomizes Ives's transcendental ideal of unity in diversity, four musical layers that are rhythmically and melodically independent but together forge a continuous tonality that evokes timelessness and eternity." He suggests that "the apotheosis of 'The Call of the Mountains' is Ives’s own music of the future." In keeping with the program ("walking up the mountain side to view the firmament"), the instruments slowly unite in their efforts to achieve their goal, culminating in a "transcendental" ostinato passage during which the cello plays a slow, majestic descending whole tone scale beginning and ending on D, strongly reminiscent of the ending of the last movement of Ives' Symphony No. 4, completed several years after the composition of the quartet.
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" Jillian Mapes of Billboard wrote that although the album is "devoid of much musical flourishing", it was "absolutely worth the seven-year wait". The Boston Phoenixs Zeth Lundy rated the album three-and-a-half stars out of four, describing its sound as "raw and deceptively artless" and deeming it "arguably her funniest ... but also her leanest and most melodically daring." Paste magazine reviewer Stephen M. Deusner rated it 8.4 out of 10, stating that Apple relies on the same eccentricities of her past work, and her inability to "get out of her own head — can’t even begin to write a song that doesn’t build on layers of self-conscious self-absorption and gritty self-loathing — may in fact be one of her greatest and most distinguishing strengths as an artist"; while her "overwrought" lyrics "can provoke cringes as easily as sympathetic nods", they "exert a considerable power, marking these songs as indelibly her own". Now magazine gave the album four out of five stars, writing: "Apple's return to music is not only undeniably powerful, but Idler is arguably her best work yet.
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" In a positive review from Variety, Jem Aswad wrote that the album has "consistency and sonic unity, even as the songs wander thematically and melodically all over the map" as well as calling it a "rock-solid foundation for the next phase of [Gaga's] remarkable career". Hannah Mylrea of NME gave a positive review calling the album "pure joy" specifically calling the record's production "glossy." Furthering with positive reviews, Nick Smith of musicOMH concluded his review by saying: "There may not be anything really new here, but why mess with this formula when it can produce such engaging slaps and dancefloor empowerment?" Writing for Entertainment Weekly, Leah Greenblatt thought that "nearly every one of its 13 tracks reaches for a kind of delirious excess: thunderous hard candy bangers designed to press on the brain’s pleasure centers until they submit, again and again, to the replay button." Kory Grow from Rolling Stone thought that "mostly, Gaga has focused Chromatica's spectrum on the kind of body-moving music that comes naturally to her" and said that "her pop renaissance couldn’t come at a better time.
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Decemberunderground received generally positive reviews. The review aggregator Metacritic awarded the album a 72 out of 100, based on 15 reviews. Entertainment Weekly awarded the album a grade of B+, and called it a further development of the band's earlier shift to "an eerie, metal-edged Cure sound", with Decemberunderground representing "the most melodically acute distillation of that style yet," unlike their previous studio album Sing the Sorrow, which they awarded a D. AllMusic awarded the album 4 out of 5 stars, saying the band's "ever-evolving goth-punk" sound is present on Decemberunderground in a "tighter and lighter" form, showing that the "core of AFI's sound never strays too far from what listeners have grown to love about them in the first place." Rolling Stone awarded the album 3 out of 5 stars, one less star than their review of Sing the Sorrow, and claimed that "something isn't right in the world of AFI," because of their pop-rock musical structure "that would be at home on the soundtrack to the next Spider- Man movie".
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" AllMusic's Jason Birchmeier commended the record's songwriters and producers for crafting a lean track list that offers catchy singles, calling it "an energetic, slick, and stylish album with plenty of subtle sex and overt gloss — everything early-2000s pop listeners demand in their superstars." He concluded that "In short, Sisqó gives you exactly what you want — assuming you liked his debut album — offering a can't-miss collection of should-be hits and even more of his ceaseless crooning." Tom Sinclair of Entertainment Weekly praised the album's mixture of raunchy sex anthems and sensitive love ballads, calling it "a vast improvement over a debut that felt as artistically flimsy as the subject matter of 'Thong Song'." Barry Walters, writing for Rolling Stone, said that despite the commendable efforts of the producers to experiment with R&B; instrumentations, they fall under the weight of studio mixing and Sisqó's shortcomings as a lyricist, calling it "a messy album, one that's instrumentally inventive, melodically underdeveloped, vocally overcooked and lyrically just plain lazy.
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In a contemporary review for Rolling Stone, Greil Marcus hailed Give 'Em Enough Rope as a poised, unpretentious record of "straight English punk with a grip on the future" and "accessible hard rock" showcasing the Clash's unyielding, humorous "vision of public life": "The band's vision of a world strangling on its own contradictions hasn't changed, but their idea of their place in that world has." Robert Christgau wrote in The Village Voice that the album's pessimistic mood and a couple of bad songs or moments made it less listenable than the band's debut record, but concluded that most of the songs were "effective melodically as anything on The Clash, and even the band's ruminations on the star as culture hero become more resonant as you hear them over and over again. This isn't among the greatest rock albums ever, but it is among the finest of the year." He named it the fourth best album of 1978 in his list for the Pazz & Jop,Pazz & Jop 1978: Dean's List an annual poll of American critics in which Give 'Em Enough Rope also finished fourth.
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The Move in 1967 In the late 1960s the extreme eclecticism of Birmingham's musical culture saw the emergence of several highly original bands who would each develop new and distinctive pop sonorities, between them establishing many of the archetypes of the psychedlia and progressive rock that would follow. The first of these was The Move, formed in December 1965 by musicians from several existing Birmingham bands including Mike Sheridan and The Nightriders, Carl Wayne and The Vikings and the Mayfair Set; initially performing covers of American West Coast acts such as The Byrds alongside Motown and early rock 'n' roll classics. Guitarist Roy Wood was soon persuaded to start writing original material, and his eccentric, melodically inventive songwriting and dark, ironic sense of humour saw their first five singles all reach the UK Top 5. With their sound "placing everything in pop to date in one ultra-eclectic sonic blender", The Move performed across an enormous range of styles, including blues, 1950s rock 'n' roll and country and western with a particularly strong influence from hard- edged rhythmic soul, and with some of their material approaching the sound that would later be identified as heavy metal.
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The manuscript is particularly informative in that it contains tunes found in contemporary and later collections, but often in distinct variants. Curds and Whey, with 3 distinct strains here, appears in a similar version with more variations, in the George Skene manuscript, written in Aberdeenshire some 20 years later, there called Wat ye what I got late yestreen; in The Northern Minstrel's Budget a verse list of tunes from the early 19th century, the title of this appears as And I got yesternight curds and whey, suggesting that Atkinson's and Skene's titles are both fragments of the same lyric. Another tune in the book, The Reed House Rant, here with 8 strains, also appears elsewhere - Playford printed a different variant as "A Jig divided 12 ways", while it appeared again half a century later as an Old Lancashire Hornpipe in Walsh's Compleat Collection, and later still back in Newcastle, as a 2-strain version in the William Vickers manuscript. Another tune in the manuscript, a triple-time hornpipe called Uncle John seems to be connected, melodically, harmonically and structurally, with Madam Catbrin's Hornpipe, from Marsden's collection of 1705.
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According to Bob Geldof, he penned the Boomtown Rats hit song, "I Don't Like Mondays" in the Album 88 office after reading a telex report of the schoolyard shooting on which the song is based. Album 88 has over 50 student volunteers who host many of the programs. Among the specialty shows on Album 88 are: Melodically Challenged (poetry and alternative music, nationally syndicated), The Georgia Music Show (dedicated exclusively to artists from Georgia), I Don't Care (punk), Soul Kitchen (funk, soul, disco and related), Crossroads (blues), Jet Lag (international psychedelia), New Theory (chillwave), Beatscape Lounge (ambient, electronica and nu jazz), Subterranean (drum and bass), Cowtipper's Delight (classic country and alternative country), Dot Dash (post-punk),dot dash Mighty Aphrodite (female vocalists), We're Not Gonna Take It (heavy-metal music), Tower of Song (psyche, prog, freakbeat), a large variety of hip hop including the long-running shows Tha Message, Rhythm and Vibes (Atlanta's longest-running hip hop show) and Hush Hush (instrumental hip hop), One Step Beyond (ska, bluebeat & rocksteady) and many more.WRAS Programming - On March 14, 2008, an F-2 tornado struck Atlanta's downtown core and led to the evacuation of students and employees from parts of the Georgia State campus.
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