I've seen performances of "Aida" far less focused than the one he notates.
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The performance artist Glenda Léon notates music and dance scores with images of raindrops.
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She no longer notates individual candle wrappers with poems, and she's delegated some of the more menial production tasks.
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" The indelible ink stain he gets on the front of his required uniform causes a great deal of embarrassment and he makes slow progress on his project, which he notates as a series of absurd "fundaments" like "The project shall have a narrative component.
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Walter Piston considers and notates vii as V, an incomplete dominant seventh chord .
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The Foundations of Rock, p.198. . Everett notates major-minor sevenths Xm7. "Five Foot Two, Eyes of Blue" features chains of secondary dominants.Shepherd, John (2003).
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The clarinet part notates this section in "two-part texture." (Meerwein) :Ref: Meerwein, Full score: pp. vi-vii (Preface), 53 (Comments); Kindermann, p. 63; Beaumont, p.
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These treatises use Daseian music notation, based on four-note patterns called tetrachords, which easily notates parallel fifths. This notation predates Guido of Arezzo's solmization, which divides the scale into six-note patterns called hexachords, and the modern octave-based staff notation into which Guido's gamut evolved.
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In 2001, the journal Ugarit- Forschungen published the article "The First Inscription in Punic – Vowel Differences in Linear A and B" by Jan Best, claiming to demonstrate how and why Linear A notates an archaic form of Phoenician.. This was a continuation of attempts by Cyrus Gordon in finding connections between Minoan and West Semitic languages.
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Greek orthography has used a variety of diacritics starting in the Hellenistic period. The more complex polytonic orthography (), which includes five diacritics, notates Ancient Greek phonology. The simpler monotonic orthography (), introduced in 1982, corresponds to Modern Greek phonology, and requires only two diacritics. Polytonic orthography (from () "much, many" and () "accent") is the standard system for Ancient Greek and Medieval Greek.
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There was once a railway station at Thorverton on the Exe Valley Railway, part of the Great Western Railway completed in May 1885. The station was located at the far end of Silver Street. The wooden signpost at the road junction still notates the location as 'Station'. Following the removal of the railway line in October 1963 as part of the Beeching Axe.
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Ann Heymann argues that a confusion has arisen between "Glas" and "Ladhar – spread hand" which Bunting describes as "Double notes, chords, etc. (...) for the right hand" played "with forked fingers, first and third fingers, an octave." See: Simon Chadwick, "Irish harp terms: Ladhar - Spread Hand (for the right hand)" with video demonstration, Early Gaelic Harp website. Bunting notates this as an ascending sequence which again does not allow for dampening.
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The music of Vampire Rodents is entirely created by sampled music. Vahnke takes sections of previously recorded improvised or composed music and edits, notates and catalogues it in his sample database for later use. Shying away from using modern or high-end equipment, Vahnke prefers utilizing two Roland S-50s and a Commodore 64 for sequencing the samples. He usually begins composing by structuring the piece with drum beats, the percussion is mostly structured around several interlocking loops.
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This effect occurs throughout the work and, as with the quarter tone effects mentioned above, the precise pitch of the note is not critical to the composition. Thus, Penderecki notates it without the staff, helping to make his notational system as visually efficient as possible. Another effect instructs the performer to “tap the desk with the bow or the chair with the heel.” Here, Penderecki turns traditionally non- musical items into instruments which are included in the work.
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However, this is broken by a return of the forte octave passages from the previous variation, modulating between C major, B major and B minor, before finishing in the original key of E minor. ;Variation VII The bass takes on the melody with wide, rolled chords, while the treble engages itself with undulating sextuplet thirty-second scale runs. Again, it modulates through the melodic minor, while sevenths and ninths add colour to the harmony. The scale flourish in the last bar is the first moment in the piece where Alkan notates use of a pedal.
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Whitacre notates long, sustained notes with text to be spoken at random by each individual singer. Following the opening section is a baritone solo, which is then followed by the development of a new a cappella theme. This section continues into a spoken, arrhythmic incantatory solo with background. In the section titled "The Cloudburst", handbells (which are directed to be hidden from the audience) play a written two bars, and then play at random as the choir crescendos into an aleatoric section, which is signaled by a loud clap of "thunder".
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Civil war between these generations, due to a royal title granted as a lifetime honorific from Holy Roman Emperor, but did not provide for a hereditary monarchy. This resulted in church reformations and a lack of documentation for the area. One of the earliest references to the town came from an assistant to the Archbishop of Gniezno who was noted as residing in the town in 1123. Later the Diocese of Włocławek () of Kuyavia in 1148, notates its existence in a bull issued by Pope Eugene III, while mentioning the first bishop of Włocławek as Warner.
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It opens with a motoric sixteenth- note motif that continues almost uninterrupted to the end of the piece, and includes unusually elaborate concertato effects. Bach even notates manual changes for the organist, an unusual practice in the day as well as in Bach's organ output. The fugue, also in D minor, is long and complex, and involves a rather archaic-sounding subject which prominently features syncopations and three upward leaps of a perfect fourth. The strict contrapuntal development is only broken in the final four bars, when a few massive chords bring the piece to a close.
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The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions on the score, Berio writes, For much of the piece, Berio notates measures in seconds instead of bars, although there are some sections of the work that use traditional rhythmic notation. The piece calls for various forms of advanced and extended technique, including using five alternate fingerings for one note in a single measure, multiphonics, double tonguing, trills on multiple notes at a time, overblowing, flutter-tonguing, traditional harmonics, and microtonal trills. Jacqueline Leclair breaks down the piece into three sections.
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In Schoenberg's musical notation, Sprechstimme is usually indicated by small crosses through the stems of the notes, or with the note head itself being a small cross. Schoenberg's later notation (first used in his Ode to Napoleon Bonaparte, 1942) replaced the 5-line staff with a single line having no clef. The note stems no longer bear the x, as it is now clear that no specific pitch is intended, and instead relative pitches are specified by placing the notes above or below the single line (sometimes on ledger lines). Berg notates several degrees of Sprechstimme, e. g.
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Tricky Sam Nanton's wah-wah on trombone in Duke Ellington's Orchestra became well known as part of the so-called "jungle" effects of the band in the late 1920s . This technique has been used in contemporary music. Karlheinz Stockhausen notates the use of the wah-wah mute in his Punkte (1952/1962) in terms of transitions between open to close using open and closed circles connected by a line . Although the most common method of producing wah-wah on brass instruments is with a mute, some players have used electronic filtering, notably Miles Davis on trumpet .
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A featural script notates in an internally consistent way the building blocks of the phonemes that make up a language. For instance, all sounds pronounced with the lips ("labial" sounds) may have some element in common. In the Latin alphabet, this is accidentally the case with the letters "b" and "p"; however, labial "m" is completely dissimilar, and the similar-looking "q" and "d" are not labial. In Korean hangul, however, all four labial consonants are based on the same basic element, but in practice, Korean is learned by children as an ordinary alphabet, and the featural elements tend to pass unnoticed.
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In genres requiring musical improvisation, the performer often plays from music where only the chord changes and form of the song are written, requiring the performer to have a great understanding of the music's structure, harmony and the styles of a particular genre (e.g., jazz or country music). In Western art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music.
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Scherzo in A flat by the Russian Romantic era composer Alexander Borodin (1833–1887) Jazz, rock and pop songwriters typically write out newly composed songs in a lead sheet, which notates the melody, the chord progression and the tempo or style of the song (e.g., "slow blues"). Jazz and rock genre musicians may memorize the melodies for a new song, which means that they only need to provide a chord chart to guide improvising musicians. Musical composition, music composition or simply composition, can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music.
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The E tuba often plays an octave above the contrabass tubas in brass bands, and the F tuba is commonly used by professional players as a solo instrument and, in America, to play higher parts in the classical repertoire (or parts that were originally written for the F tuba, as is the case with Berlioz). In most of Europe, the F tuba is the standard orchestral instrument, supplemented by the CC or BB only when the extra weight is desired. Wagner, for example, specifically notates the low tuba parts for Kontrabasstuba, which are played on CC or BB tubas in most regions. In the United Kingdom, the E is the standard orchestral tuba.
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Eva Marie Heater, "Early Hunting Horn Calls and Their Transmission: Some New Discoveries", Historic Brass Society Journal 7 (1995): 123–41. Citation on 123–24. The first occurrence of horn calls in standard musical notation is in the hunting treatise La vénerie by Jacques du Fouilloux, dated variously as 1561 and 1573, followed soon after in an English translation by George Gascoigne (often misattributed to George Turberville) titled The Noble Art of Venerie or Hvnting (1575). Jacques du Fouilloux notates the calls on a single pitch, C4, whereas Gascoigne presents them on D4.Eva Marie Heater, "Early Hunting Horn Calls and Their Transmission: Some New Discoveries", Historic Brass Society Journal 7 (1995): 123–41. Citation on 129 and 139n31. Although it is generally accepted that the horns used on the hunt at this early date were only capable of a single note, or at best a striking of the pitch well below and "whooping up to the true pitch",Anthony Baines, Brass Instruments: Their History and Development (London: Faber and Faber; New York: Charles Scribner's Sons, 1976): 146–47.
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