But when asked about his greatest fear among the supernatural, Batycki's voice quavers.
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Perhaps. But it's hard to forget the raw quavers of emotion in each storyteller's voice.
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Wotsits and Quavers at 50/50 for the entire vote, but Wotsits just edged it.
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If I'm reading this correctly, two quavers would equal one crotchet, and four crotchets equal a hemiliter.
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"Are you...Jennelle?" it quavers, the lilt of an adolescent British accent turning the question into a yodel.
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For the penultimate stage, Wotsits were drawn against Quavers while the two onion-based flavours faced off against each other.
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In two semi-quavers you are quivering to the same magic that has set all these spontaneous musicians to reeling melodiously.
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Results showcases those quavers and cracks impeccably, with the PSB production—all MIDI-rococo and hyper-unreality—buttressing the whole thing in a knowingly cloying manner.
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Its arrangements punched up the bass — sometimes with funky thumb-popping — and gave Romeo Santos space to use the vocal quavers and turns of current R&B.
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That eloquence is in his lyrics and melodies as well as a voice that, especially when it quavers on the high end, conveys a sincerity he transfers to his listeners.
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"I'm Not in Love" quavers with the same distilled loathing the geek has always felt in his bones, combined with a juvenile determination to win the argument by going to logical extremes.
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You missed classes and you stopped talking about your plans and when I called you wouldn't pick up and we couldn't get you out of your room... Her voice quavers and she stops.
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His fiddle playing had the deliberately rough-hewed sound of rural tradition; his tone could be sweet or scratchy, his phrases songful and melancholy or propulsive and gnarled with ornamental turns and quavers.
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On "Lionhearted," she relies on the composure of her voice (which has a touch of Feist's whispery quavers), the delicate picking of her guitar and an eerie ambient backdrop devised from acoustic instruments and reverberations.
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"When You Walk a Long Distance You Are Tired" (Grand Jury Music) Kristine Leschper, the singer and songwriter from Athens, Ga., who leads Mothers, has a plaintive, slender voice that quavers and slides around her melodies.
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After a lunch of split-pea soup and Quavers, Gillian at GiveAGradAGo stuck her oar in, flattering Florian over his "interesting experience," and then, quick as a wink, Cara from Meltwater Media Intelligence was in my face about a phone interview.
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In "Zala Mayele," a strutting bass line faces pushback from drums, bells and electronic handclaps; meanwhile, the lead vocal is warped by electronic quavers, there are bursts of distorted guitar and a saxophone wanders in now and then to offer melodic solace.
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As she continues to sing — "Let me fly away with you, for my love is like the wind, and wild is the wind" — her voice quakes and quavers, even as she keeps extending the notes, singing slowly as if she's tasting her own pain.
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He also excels at editing visuals, winning Cuba's best music video award last year for the clip he made to accompany "Electrotumbao 2030," a head-nodding original which marries the tumbao—a standard bass rhythm underpinning most Afro-Cuban music— with a grabbag of theremin-esque stabs and quavers.
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Pill is taken, user gets high, user is no longer high on the pill they took, user can't sleep properly, user spends next day eating Quavers and thinking about their ex, user is a nightmare at work till Wednesday, user gets to Friday and starts the cycle again.
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With her songs on "El Mal Querer" (which could translate as "Bad Desire" or "Bad Love"), produced by the electronic musician El Guincho and others, she explores passion, jealousy and betrayal while handclaps interweave with minimal trap beats and the arabesques of flamenco singing segue into Auto-Tuned quavers: age-old sentiments expressed in the present tense.
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A slow, tender, florid love ballad, it nudges a singer toward all sorts of overstatement and mannerism (although Mathis's original is magical), and boy does Bowie succumb to temptation — he lets his voicebox bleed all over the microphone, inserting all sorts of unnecessary quavers and whispers and melismata, and when the music drops out so he can bellow "Don't you know you're life… itself!!" he almost faints from the melodrama.
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Quavers are a British snack food, originally made by Smiths, and now produced by Walkers. Walkers, owned by PepsiCo, purchased the Quavers brand in July 1995, when it became one of the Frito Lay International brand names. Quavers were launched in 1968 with the advertising slogan "you get a lovely lot of Quavers in a bag". Packaging described them as "curly potato puffs".
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Quavers has 87 calories in the Cheese flavour. In February 2011, Quavers packaging updated to a brighter bag colour with the Walkers logo on the packets again.
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A one pack (16.4 g) serving of regular Quavers contains 88 calories, of which 44 are from fat. Quavers contain a mixture of fats (4.9g): saturated fat 0.4g, polyunsaturated fat 0.6g and monounsaturated fat 3.8g. The sodium content is 170mg. Quavers have 88 calories in their Cheese flavour and 86 in the salt and vinegar variety.
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The asymmetric time signature , on the other hand, while also having eight quavers in a bar, divides them into three beats, the first three quavers long, the second three quavers long, and the last just two quavers long. These kinds of rhythms are used, for example, by Béla Bartók, who was influenced by similar rhythms in Bulgarian folk music. Stravinsky's Octet for Wind Instruments "ends with a jazzy 3+3+2 = 8 swung coda" . Additive patterns also occur in some music of Philip Glass, and other minimalists, most noticeably the "one-two-one-two-three" chorus parts in Einstein on the Beach.
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Opie, Robert The 1970s Scrapbook In October 1998, Prawn Cocktail Quavers was introduced to both Cheese and Salt & Vinegar flavours, replacing Tangy Tomato. "NEW PRAWN COCKTAIL" was said inside multipack bags. In March 1999, Quavers was re-introduced again, which were called "New Cheese Flavour," "Salt & Vinegar Flavour" and "Prawn Cocktail Flavour." In February 2007, Walkers changed the packaging for all their snack products, which were Quavers, Wotsits, Squares, French Fries and Monster Munch.
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This packaging reflected the usage of Sunseed Oil, which was used in all products. The Multipack bags were in a different layout, being in Landscape style. Quavers' logo was changed slightly, and the flavours remained the same. In December 2009, Quavers, Squares, Wotsits and French Fries had all changed their packaging again because of a reduction in calories.
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The SNES version lacks the Quavers branding, and instead the aim is to recover bundles of cash dropped down the ant hill by Captain Rat.
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He also wrote two volumes of memoirs, Crotchets and Quavers (1855)Max Maretzek (1855) Crotchets and quavers: or, Revelations of an opera manager in America, Samuel French, New York (Digitized by Google Books) and Sharps and Flats (1890).Max Maretzek (1890) (copyright 1889) Sharps and flats, American Musician Publishing Co., New York (Digitized by Google Books) He died in Pleasant Plains, Staten Island, New York in 1897.
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Additive rhythm time. 1 whole note = 8 eighth notes = 3 + 3 + 2\. The term additive rhythm is also often used to refer to what are also incorrectly called asymmetric rhythms and even irregular rhythms – that is, metres which have a regular pattern of beats of uneven length. For example, the time signature indicates each bar is eight quavers long, and has four beats, each a crotchet (that is, two quavers) long.
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Sergei Rachmaninoff, the composer of Polka de W.R.. Polka de W.R. is in A-flat major and in 2/4. The piece starts with semi-quavers in the right-hand and a melody in the left. After four bars, this then progresses to a melody with a quaver followed by triplet semi-quavers underneath. Meanwhile, the left-hand plays a typical polka oom-cha rhythm with firstly a bass note and then a chord above.
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In extreme contrast to the energy and speed of the previous variation, this one begins with a four-bar passage marked cantabile, in quiet, slow crotchets at the tempo of the theme. Its peaceful, static character is emphasised by the repeated B in the top voice. As the sonata progresses to its conclusion, Beethoven intensifies almost every musical parameter to the maximum. Note values intensify the rhythm by decreasing from crotchets through quavers, triplet quavers and semiquavers to demisemiquavers.
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The fugue of BWV 538 is very similar to the fugue of BWV 540. They both imply an alla breve time signature; they both use subjects with semibreves and syncopated minims, with a rhythm of constant quavers, rather than constant semi-quavers seen in most of Bach's fugues; they both use chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers. Bach worked in Weimar between 1708 and 1717, during which he composed most of his organ works including BWV 538.
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A new phrase then begins with an ascending scale in the manuals leading up to a large D major chord. A new tempo is then introduced: Alla breve, and then a large phrase is introduced with a very polyphonic texture and a prominent tune. A section then starts with chords played in the manuals and the quavers played in the pedals. This continues for another long period of time until the left hand takes the tune and the right hand plays the quavers.
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Quavers are currently only available in Cheese flavour, but have had many other varieties over the years. The primary ingredient in Quavers is potato starch. They are deep fried to give a snack with a similar texture to krupuk (prawn crackers), but have a different flavour and are smaller with a curled-up rectangle shape (similar in cross-section to a quaver). Originally only available in cheese and smoky bacon flavours, the product line went on to introduce two other flavours, prawn cocktail and salt and vinegar.
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Candélas then has "Ah!"s at the start of every other following bar for the next four bars. These bars finish with semi-quavers and then an ascending scale. There are then crotchet chords for 15 bars.
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The different motifs in the ritornello thus also serve the purpose of accompanying specific parts of the text. The first predominant motif consist of detached repeated quaver chords, passed antiphonally between the three instrumental groups of recorders, oboes and strings. These are accompanied by similarly detached crotchets, scored as quavers with rests, in the walking bass of the continuo. After thirteen bars there follows a four bar passage of melifluous semiquaver passages in thirds for the recorders with imitative responses from the oboes; the upper strings take up the detached crotchets and the continuo the groups of detached repeated quavers.
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Water Color Scalar, Op. 57 is a series of five small dances for solo classical guitar, composed by Takashi Yoshimatsu in 1993. It was written as a subset of pieces from a set of three pieces that the composer wrote for classical guitarist Kazuhito Yamashita entitled Wind, Water, Sky and bearing the titles Wind Color Vector, Water Color Scalar and Sky Color Tensor. Yoshimatsu describes the pieces as written in a pseudo- classical style in which the linear guitar rhythms imitate a water-colored scalar. The score is written using only quavers and semi-quavers and features complicated rhythms and passages which make it difficult for the guitarist to perform.
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Chaplin's shout at the outro is removed. "Somewhere Only We Know" is a traditional piano rock song. The piano is the most relevant instrument, due to its harmonic and rhythmic role. It is played in quavers throughout the whole song, holding the tempo and the rhythmic pattern.
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In the Wingates Band version, the melody is in the high range of the band. In the Michael Nyman Band version, the bassline is in the piano, played by Michael Nyman himself, playing chords. In the Wingates Band version, it is running quavers in the tuba line.
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When this section finishes, a new tempo of Adagio begins. A new theme then arrives with slow quavers on the lower manual and pedal and ascending scales in the upper manual. The prelude then concludes with a slow theme, on broken arpeggios and some slow, elongated final chords.
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However, at the repeat is not complete, as the third movement is then cut off half way through by an ascending scale of triplets for four bars. Here the tempo changes to Più mosso, ma giusto. This is the coda. Semi-quavers then follow for two three bar phrases of ascending scales.
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The chorus is adorned with descending quavers in the orchestra. The second movement is a duet between cori and for two soprani in each cori. The final movement unites the two cori with a brief grave and enters a fugue. The fugue would later be reworked for the composer's Concerto Madrigalesco (RV 129).
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The third movement is a short alto recitative of only seven measures. It is characterized by the diminished chord which concludes the vocal line before the final cadence. The bass aria uses "sequences of 'treading' quavers in the continuo line" to suggest a stepping motion. The movement concludes with a long vocal melisma.
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The recapitulation is fairly straightforward. The piece concludes with a fiery coda beginning with a fugue section on the main theme and a counterpoint theme in quavers, with several homophonic passages that feature the brass and present the primary theme at half the speed. The symphony closes solidly with a tutti fortissimo statement.
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A more conspicuous feature of Ormandy's disc was that its soloists' and chorus's contributions were sung in German translations of William Shakespeare's verse rather than, as was customary, in the playwright's own, English words. This was historically correct: Mendelssohn had composed his music for a staging of A Midsummer Night's Dream in Berlin, and had set his music to a text translated into German by Schlegel and Tieck. Moreover, performing his score in English necessitated altering his notes, repeatedly changing a pair of quavers into a quaver followed by two semi-quavers. However, Greenfield felt that he "would certainly prefer English every time, if only because the sibilant German consonants make the fairies sound as though they are taken with little sneezes".
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In the eighth bar of the maiden's song, on the word rühre ("touch"), the quavers stop and the rhythm of the opening section returns. Then an imperfect cadence leads to a rest with fermata. This brings the second section to a total of 13 bars in length. The third and final section is Death's song.
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There are then trills for the piano for a further 8 bars. A quaver, quaver rest, quaver, quaver rest pattern follows with straight crotchets for 8 bars. A melody then comes in above the base rhythm for 24 bars. The piano then has a large section of chords and (mainly) quavers for 33 bars.
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Figure 1. Measures 1 and 2 of the Violini I e II staff of RV 591. RV 591 has four movements. In a style similar to his psalm setting of In exitu Israel (RV 604), the first movement adorns the chorus' simple rhythms of crotchets and minims with the orchestra playing semiquavers and quavers.
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For Griepenkerl, the sweetness of the melody reflected the tender personality of Wilhelm Friedemann. Fourth movement. The last movement of Op.3, No.11 is composed in ritornello A–B–A form. In the opening bars the first and second violins play in tutti the opening theme with its repeated quavers and clashing dissonances.
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Joshua's trumpet blasts (called "toots" in-game) also destroy blocks of Jericho's wall; "Israelite discontent", "Achan's sin", and "foreign idols" (cult images) are likewise represented by destructible tiles. The trumpet blasts are symbolized by white quavers. Occasionally, destroying a block with a trumpet blast reveals an item or power-up. All the levels have a time limit.
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Additionally, hornpipes often have three quavers or quarternotes at the end of each part, followed by pickup notes to lead back to the beginning of the A part of onto the B part. Many airs have an AABA form. While airs are usually played singly, dance tunes are usually played in medleys of 2-4 tunes called sets.
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Sequenced tracks with a strong beat almost always work well, but very busy or heavily compressed tracks or those with irregular rhythms can drift in and out of time, making some of the automatically generated dances difficult to perform or hard to learn. It can cope with some tempo and time signature changes, but not all. It cannot resolve fractions of a beat shorter than an eighth note (quaver), whereas some pre-programmed games use sixteenth notes (semi-quavers or demi- quavers), especially at high difficulty levels. Dance Factory has three difficulty settings but the actual difficulty of the dances it generates is influenced as much by the track it is asked to analyse, so a fast song may be more difficult at "easy" setting than a slow one at "normal" or "pro" difficulty.
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This section is more agitated than the first; it is marked piano and "somewhat faster" (etwas geschwinder). The melody gradually increases in pitch, chromatically at points. The piano accompaniment is syncopated, playing chords of quavers alternating in the left and right hand. A diminished chord in the first bar of the third line (ich bin noch jung) creates an eerie mood.
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An excerpt from the middle section. A tempo change to più mosso speeds up the piece. It starts off with some fast, triplet quavers and then three loud (forte) chords. This then repeats three further times until a completely new section comes in with a melody in the right hand and triplet broken chords in the left (see score on right).
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She peers out at the world with the washed-out eyes of a hunted animal. Her walk is a ladylike retreat, a sign of a losing battle with time and diets and fashion. Her drab voice quavers with a brittle strength that can command a student but break before a parent's will. By any reckoning, it is [her] best performance.
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The finale is light in mood, in 6/8 time and marked scherzando, but in form is a rondo with a coda. The episodes develop the slow material from the third section of the first movement . The piano in this movement is marked by many bars of repeated quavers, and functions similarly to the rhythm section of a jazz ensemble .
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The movement, described by Girdlestone as the concerto's strongest movement, is in a broadly rondo form. In contrast to the languid second movement, the theme is sharply defined and introduced by the piano, quickly followed by the winds. The theme establishes the main motif of this piece: quaver-quaver-crotchet, quaver-quaver-crotchet. The two quavers in each group of three notes are of identical pitch.
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They didn't end up being very successful and vanished after about a year on the shelves. In February 2007, Walkers changed the packaging for all their snack products, which were Quavers, Wotsits, Squares, French Fries and Monster Munch. This packaging reflected the usage of Sunseed Oil, which was used in all products. The Multipack bags were in a different layout, being in Landscape style.
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This segment first appeared at the beginning of Series Three, and deals with moral dilemmas Richard has faced in the last week. After Richard has related the incident, it is left to the audience to decide whether his actions were moral, immoral or amoral. Subjects for moral discussion include stealing a packet of Quavers from a train and not removing an open pornographic magazine from a public bin.
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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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It is important to realize that while in half time, the feel of notes are chopped in half, but the actual time value remains the same. For example, at the same tempo, 8th notes (quavers) would sound like 16ths (semiquavers). In the case of the half time shuffle, triplets sound like 16th note (semiquaver) triplets, etc. By preserving the tempo, the beat is stretched by a factor of 2.
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This movement (♪= 52) is much slower and quieter. In its song-like tune Poulenc acknowledged there were echoes of Sister Constance in Dialogues des Carmélites but the effect here is purely lyrical – an "infinite melody" (mélodie infinie) – with none of the drama of the opera.Caré, p. 45 The movement begins with two quavers on the piano, which are echoed by the flute during the course of the next two bars.
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"Evermore"'s lamenting melody is paired with lyrics that express loneliness, accompanied by heavy orchestration that swells and loudens as the ballad progresses. Both "brooding" and hopeful at the same time, Jay Jason of Comicbook.com believes that the song's lyrics are inspired by the popular saying "If you love someone, let them go." Stevens' voice quavers with emotion when he sings the phrase "I never needed anybody in my life".
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His harmonies are colourful and various in form, as he uses different types of Arpeggios. His famous Arpeggio consists of four notes with quavers as the beginning and the end note, and two semiquaver at the middle, while the more complicated ones incorporate trills or triplets. He used the simple chord progression and never altered modulation or secondary dominants. His mostly applied chord is I---III ---V---I.
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Eventually, the work introduces a second, more tense melody in F minor, which builds up into a passage of constant quavers. The development of the movement runs through various minor keys, ever becoming more dramatic and angst-filled as it compresses the main theme into a repeated one-bar rhythm, which gradually fades away. It then recapitulates back into the themes of the beginning. The Andante movement is in D minor.
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In October 2002, Spicy was replaced with Roast Beef. It said "NEW" on top and in front of the pack, although not being the same flavouring as the Roast Beef that was previously sold. In February 2007, Walkers changed the packaging for all their snack products, which were Quavers, Wotsits, Squares, French Fries and Monster Munch. This packaging reflected the usage of Sunseed Oil, which was used in all products.
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Throughout the years there have been several limited edition flavours available for a short period of time. A "Baked Bean" flavour was made available in February 2003 for Comic Relief, alongside Quavers, Wotsits and French Fries. A "Vanilla Ice Cream" flavour was released in April 2003, and was received with mostly negative reaction. This type of Monster Munch was non-savoury, and it contained sugar instead of salt.
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Fugue subject The fugue is unusually void of the commonly used fugal devices, such as augmentation, diminution, inversion, pedal point or stretti. The cheerful subject is characterised by ascending 6ths in light quavers. One of the countersubjects is constructed with running legato semiquavers, whilst the other consists of longer note values. The fugue has an extensive sequential episode which develops through related keys before the reappearance of the three voices.
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Writers, poets, and photographers have long been inspired by the fog, including Herb Caen, August Kleinzahler, and Arthur Ollman.Julian Guthrie, "San Francisco's famous fog", San Francisco Chronicle, July 6, 2009. Sam Green made a film about San Francisco's fog for the Exploratorium, which premiered in 2013."'Fog City' by Documentary Filmmaker Sam Green Premieres October 2-3, 2013 with Live Performances by The Quavers", Press release, Exploratorium, October 1, 2013.
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In May 2008 Wotsits were changed from being fried to baked instead. In December 2009, Wotsits, Quavers, Squares and French Fries changed packaging again to show they have 100 Calories or less. Wotsits had 95 calories in multipack bags and 99 calories in standard bags at the time. In January 2012 the Walkers logo was re-added again and after a while, the brand has simply been sold in Really Cheesy flavour.
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The harp, the first instrument the composer had in mind, was also played by King David, and plays a major role in Britten's A Ceremony of Carols. The sopranos, optionally with the altos, sing the first phrase, marked "eagerly". Their motif, an upward triad of two identical quavers and two crotchets beginning after the beat and arriving at a long note. The rhythmic pattern is repeated in all voices throughout the verses.
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As the piece progresses, the first in the groups of three quavers is dotted to create a breathless pace, which then forms a bass figure in the piano driving through to the final crisis. The last words, , leap from the lower dominant to the sharpened third of the home key; this time not to the major but to a diminished chord, which settles chromatically through the home key in the major and then to the minor.
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Cuban güiro Zapateo is a typical dance of the Cuban "campesino" or "guajiro," of Spanish origin. It is a dance of pairs, involving tapping of the feet, mostly performed by the male partner. Illustrations exist from previous centuries and today it survives cultivated by Folk Music Groups as a fossil genre. It was accompanied by tiple, guitar and güiro, in combined 6/8 and 3/4 rhythm (hemiola), accented on the first of every three quavers.
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In musical notation, tremolo is usually notated as regular repeated demisemiquavers (thirty-second notes), using strokes through the stems of the notes. Generally, there are three strokes, except on notes which already have beams or flags: quavers (eighth notes) then take two additional slashes, and semiquavers (sixteenth notes) take one. :File:Tremolo notation.svg In the case of semibreves (whole notes), which lack stems, the strokes or slashes are drawn above or below the note, where the stem would be if there were one.
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Rhythm pattern characteristic of much popular music including rock (), quarter note (crotchet) or "regular" time: "bass drum on beats 1 and 3 and snare drum on beats 2 and 4 of the measure [bar]...add eighth notes [quavers] on the hi-hat".Peckman, Jonathan (2007). Picture Yourself Drumming, p.50. . Time signatures are defined by how they divide the measure (in , complex triple time, each measure is divided in three, each of which is divided into three eighth notes: 3×3=9).
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A quaver, a dotted quaver, and a semiquaver, all joined with a primary beam (the semiquaver has a secondary beam) In musical notation, a beam is a horizontal or diagonal line used to connect multiple consecutive notes (and occasionally rests) to indicate rhythmic grouping. Only eighth notes (quavers) or shorter can be beamed. The number of beams is equal to the number of flags that would be present on an unbeamed note. Beaming refers to the conventions and use of beams.
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A melody or series of notes is diminished if the lengths of the notes are shortened; diminution is thus the opposite of augmentation, where the notes are lengthened. A melody originally consisting of four crotchets (quarter- notes) for example, is diminished if it later appears with four quavers (eighth-notes) instead. In the following theme from Beethoven’s Leonora no. 3 Overture, the melodic ideas in bars 3 and 5 recur at twice the speed in bars 7-8: Beethoven, Leonora no.
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They break out and Johnny discourages pursuit with his big rifle laying down covering fire on the pursuing Varanel. A day later, as the portal back to the Fourth World quavers and begins to collapse, they meet Volkmeer, an old friend Raglan had left to guard the kiva who has entered the employ of the Hand, and attempt to escape the Third World. Raglan, Hokart, and the others escape, but Volkmeer is caught in the portal as it becomes quiescent, and is killed.
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In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is largely tempo-dependent. In slower tempos, a spiccato can also be manufactured using the fingers and wrist to deliberately manipulate how the bow falls to the string.
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Half time: notice the snare moves to beats 3 of measures (bars) one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes (quavers). Note also, for example, that the quarter notes 'sound like' eighth notes in one giant measure. A classic example is the half-time shuffle, a variation of a shuffle rhythm, which is used extensively in hip-hop and some blues music. Some of the variations of the basic groove are notoriously difficult to play on drum set.
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600px The fourth concerto in A minor is a conventional orchestral concerto in four movements, with very little writing for solo strings, except for brief passages in the second and last movements. The first movement, marked larghetto affetuoso, has been described as one of Handel's finest movements, broad and solemn. The melody is played by the first violins in unison, their falling appoggiatura semiquavers reflecting the galant style. Beneath them, the bass part moves steadily in quavers, with extra harmony provided by the inner parts.
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In the examples below, bold denotes a more-stressed beat, and italics denotes a less-stressed beat. Simple: is a simple triple meter time signature that represents three quarter notes (crotchets). It is felt as ::: one and two and three and ... Compound: In principle, comprises not three groups of two eighth notes (quavers) but two groups of three eighth-note (quaver) subdivisions. It is felt as ::: one two three four five six ... These examples assume, for simplicity, that continuous eighth notes are the prevailing note values.
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The symphony is in four movements. The first movement is elemental in nature, initially based on pulsing Cs but giving way before long to contrasting scales. It is soft and brief, evocative of the composer's earlier string quartets, and acts as a prelude to the faster and more lively second movement, which begins with running quavers that immediately signal a change in texture and harmonic breadth. The movement progresses to a series of abrupt metrical changes, and ends when it moves without transition into a new closing theme with pizzicato counterpoint.
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A descending E-flat major scale is played before the orchestra plays the theme of the Adagio in thematic transformation. The piano follows this with a blistering solo octaves passage before joining in duet with various solo woodwind instruments in a dainty, lively section. The movement continues bringing in all the themes from throughout the concerto and combining them sequentially. In the final few passages, a new chromatic theme is introduced in which the piano is playing semiquavers and triplet quavers at the same time, an exercise in polyrhythm, while in unison with the strings.
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The reply in a different key is given by the tenors alone, then the first lenor is repeated by sopranos and tenors in unison, leading to the first refrain "Gloria", which is marked "joyfully". The quotation from the angels' song after annunciation to the shepherds according to the Gospel of Luke is sung by the choir, now in harmony with third parallels. In the refrain, two quavers begin on the beat. In the second verse, the tenors have the first line, "He is come in peace", with the upper voices humming.
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This melodic device was also used as the backbone for the main theme of the preceding Scherzo movement and part of the coda of the opening movement. The melody following the repeated B, is, as Alan Walker notes, "a strict retrogade" of the first movement's main theme. The trio of the movement, which is in the tonic's relative major, consists of a serene melodyJonson (1905), p. 125 accompanied by quavers in the left hand. The Marche funèbre alone has remained one of Chopin's most popular compositionsHuneker (1895). p.
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The melody was reworked by Joseph Martin Kraus from a Languedoc folk tune; it is accompanied throughout by rapid, nervous quavers (eighth notes), giving the Epistle in Edward Matz's view a cinematic slow motion effect. The melody was used by "several parodists" in the 18th century; it had timbres including "Quoi–" and "Ah! ma voisine, es-tu fâchée?" which the musicologist James Massengale suggests Bellman may have had in mind.Massengale, page 171 Bellman's biographer, Paul Britten Austin, describes the Epistle as rococo, along with No. 25: Blåsen nu alla (All blow now).
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Early rock and roll used the twelve-bar blues chord progression and shared with boogie woogie the four beats (usually broken down into eight eighth-notes/quavers) to a bar. Rock and roll however has a greater emphasis on the backbeat than boogie woogie.P. Hurry, M. Phillips, M. Richards, Heinemann advanced music (Heinemann, 2001), p. 153. Bo Diddley's 1955 hit "Bo Diddley", with its B-side "I'm a Man", introduced a new beat and unique guitar style that inspired many artists without either side using the 12-bar pattern – they instead played variations on a single chord each.
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Tristano intensified his use of counterpoint, polyrhythm, and > chromaticism in the 1960s[.] Grove Music commented on some aspects of Tristano's style that were different from most modern jazz: "Rather than the irregular accents of bop, Tristano preferred an even rhythmic background against which to concentrate on line and focus his complex changes of time signature. Typically, his solos consisted of extraordinarily long, angular strings of almost even quavers provided with subtle rhythmic deviations and abrasive polytonal effects. He was particularly adept in his use of different levels of double time and was a master of the block-chord style".
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In "The Lord bless you and keep you", Rutter keeps the music restrained and simple. The accompaniment first rests on a pedal point; long chords in the bass change only every half bar, while broken chords in steady quavers add colour. The first line of the text is sung by the sopranos alone, then repeated by all voices, starting in unison but expanding to harmony on the words "The Lord make His face to shine upon you". "The Lord lift His countenance upon you" is sung twice in two-part homophony, first soprano and alto, then tenor and bass.
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The first movement, of about ten minutes duration, is one of the best examples of Beethoven's management of musical tension. The short adagio introduction (24 bars long) is not tightly thematically integrated with the rest of the movement; it serves a similar function to the introduzione of the first movement of Op 59, No 3. The main motifs of the allegro are the lyrical melody appearing several bars from the beginning, and the pizzicato arpeggios played by two instruments accompanied by repeating quavers played by the other two. At first, these two themes appear thematically and rhythmically unrelated.
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For and subsequent commentators like , however, the motif represented the "uncertain, tottering steps ... of the wretched ones who are being supported and led into the house." After the closing cadence of the sinfonia, there is a reprise of the ritornello in the orchestra in a slightly expanded form. Immediately the chorus enters in pairs with their own musical material, singing in homphonic form. The word "brich" (break) in their initial declamatory phrase "Brich dem hungrigen dein Brot" is echoed in the pauses in the musical setting, pauses already present in the fragmentary detached quavers of the accompaniment.
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The central third movement, marked Larghetto e piano, contains one of the most beautiful melodies written by Handel. With its quiet gravity, it is similar to the andante larghetto, sometimes referred to as the "minuet", in the overture to the opera Berenice, which Charles Burney described as "one of the most graceful and pleasing movements that has ever been composed". The melody in time and E major is simple and regular with a wide range with a chaconne-like bass. After its statement, it is varied twice, the first time with a quaver walking bass, then with the melody itself played in quavers.
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Additionally, some varieties of fat-free chips have been made using artificial, and indigestible, fat substitutes. These became well known in the media when an ingredient many contained, Olestra, was linked in some individuals to abdominal discomfort and loose stools. Many other products might be called "crisps" in Britain, but would not be classed as "potato chips" because they are not made with potato or are not chipped (for example, Wotsits, Quavers, Skips, Hula Hoops, and Monster Munch). Sweet potato chips are eaten in Korea, New Zealand, and Japan; parsnip, beetroot, and carrot crisps are available in the United Kingdom.
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Boogie-woogie is characterized by a regular left-hand bass figure, which is transposed following the chord changes. :Another : Boogie-woogie is not strictly a solo piano style; it can accompany singers and be featured in orchestras and small combos. It is sometimes called "eight to the bar", as much of it is written in common time () time using eighth notes (quavers) (see time signature). The chord progressions are typically based on I – IV – V – I (with many formal variations of it, such as I/i – IV/iv – v/I, as well as chords that lead into these ones).
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They may also occur in passing in pieces which are on the whole in conventional metres. In jazz, Dave Brubeck's song "Blue Rondo à la Turk" features bars of nine quavers grouped into patterns of at the start. George Harrison’s song “Here Comes the Sun” on the Beatles’ album Abbey Road features a rhythm "which switches between 11/8, 4/4 and 7/8 on the bridge" . "The special effect of running even eighth notes accented as if triplets against the grain of the underlying backbeat is carried to a point more reminiscent of Stravinsky than of the Beatles" .
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The six finalists of the 2009 "Do Us a Flavour" campaign To promote the freshness of its products, Walkers began to package them in foil bags from 1993, then from 1996, began filling them with nitrogen instead of air. In 1997, Walkers became the brand name of Quavers and Monster Munch snacks. In January 1999, Walkers launched Max, a brand with a range of crisps. In April 2000, another of the Max flavours called Red Hot Max was launched and then Naked Max in June 2000. In March 2001, Walkers bought Squares, a range of snacks from Smiths. in.
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In bar 19, the chromaticism of the two canonic parts evoke the dragging of the cross (another example of musical iconography); the tensions of this episode are gradually resolved as the variation comes to a peaceful and harmonious close. In Variatio III, the third engraving of the printed text of BWV 769, focuses on what he calls "the most modern of the set". The canon at the seventh is scored in regular quavers with the voices in the tenor (lower manual) and the bass (pedal). The "enigmatic" notation in the printed version simplifies the score, so that the cantabile part in the alto voice is easier to read.
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Nocturne in E-flat major, Op. 55, No. 2 The second nocturne in E major features a 12/8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggi from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody. There is a considerable amount of ornamentation in the right hand, for instance the prolonged trills in measures 34 and 52-54. The characteristic chromatic ornaments, in measures 7, 25, 36, and 50, often subdivide the beats in a syncopated fashion in contrast with the steady triplets in the left hand.
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The third movement is unconventional. It alternates between two different moods: in the stately largo sections the full orchestra and solo violins respond in successive bars with incisive dotted rhythms; the larghetto, andante e piano at a slightly quicker speed in repeated quavers, is gentle and mysterious with harmonic complexity created by suspensions in the inner parts. There is an apparent return to orthodoxy in the fourth movement which begins with a vigorous fugue in four parts, treated in a conventional manner. It is interrupted by contrasting interludes marked pianissimo in which a slow-moving theme, solemn and lyrical, is heard in the solo strings above repeated chords.
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The second allegro is a longer, ingeniously composed movement in the Italian concerto style. There is no ritornello; instead the rhythmic material in the opening bars and the first entry in the bass line is used in counterpoint throughout the piece to create a feeling of rhythmic direction, full of merriment and surprises. The final allegro moderato in D major had originally been intended for the twelfth concerto, when Handel had experimented with the keys of D major and B minor. A cheerful gavotte-like movement, it is in binary form, with a variation (or double) featuring repeated semiquavers and quavers in the upper and lower strings.
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The music becomes "simpler and softer" throughout the piece, moving from the "rhythmic complexity" of the opening bars through to slow quavers transforming into triplets. An ensemble piece, different light (for clarinet, violin, cello and piano) was "inspired by the idea of moving a picture from one place to another, be it to another house, or from one room to the next, or even from one wall to another." As the picture is moved, it looks the same but is perceived in a different light. Puw attempts to convey this in musical terms by having each instrument enter separately with its own musical phrase in the first part of the piece.
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When the main theme returns for the first time, it has combined with the triplet pattern of the previous section. Later, a new pattern with straight (non-triplet) semiquavers is used as accompaniment, modulating to G minor and then an off- beat version asserts itself in quavers. This theme is based on the second theme, and therefore leads into the extension of the second theme again, this time in G major, using the end of the theme's tonic chord as an effective dominant chord transition into the main theme. The theme gradually dies away and leads to C major, resolving the piece's tension into tranquility.
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After this dialogue, a second extended solo episode introduces new semiquaver triplet scale figures in the harpsichord, accompanied by detached quavers in the strings derived from the ritornello. 1000px This is followed by another dialogue between soloist and ripieno based on the ritornello material. It ends with the harpsichord doubling the highest and lowest string parts—the "unison" method by which Bach incorporates the soloist in the ripieno—bringing section A to a close in the dominant key of E major. In section B the thematic material from section A is developed more freely in the harpsichord part with semidemiquaver figures modified to semiquaver triplets.
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In the four succeeding bars the quaver figure in the continuo line is replaced by a new motif of rising semiquaver scales, with the detached quavers and crotchets passing into the upper strings and the woodwind playing sustained chords. In the concluding two bars of the sinfonia the semiquaver scale motif passes into the recorders in thirds and is taken up by the other instruments for the sustained final cadence. Several commentators, most notably and more recently , have interpreted the repeated quaver figures passed between different groups of instruments as "unmistakably depict[ing] the gesture of breaking bread." Spitta also felt that the detached notes, which subsequently accompany quite different text, added "a tender, dreamy tinge" to the movement.
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John Philip Tate (28 April 1922 - 9 December 2005) was an English dance bandleader.Thedeadrockstarsclub.com - accessed December 2010 Born in Bramley, Leeds, Yorkshire, England, Tate played violin from the age of eight, and was later an autodidact on clarinet and saxophone.[ Allmusic - biography by Jason Ankeny] He formed his own group, the Five Quavers, while in high school, and played in the RAF Silver Wings Dance Orchestra during World War II. The ensemble proved so cohesive that all twelve of its members decided to continue playing together after the war, under the name Phil Tate & His Orchestra, taking a residency at Leas Cliff Hall in Folkestone. Their instrumentation was unusual, featuring five saxes and three flutes.
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In this central part, the melody is inverted with some resulting conflict between natural and flattened leading notes, and the canon is interrupted by both a false start and a tenor interlude. The return to the home key area marks the start of the final canon, and a joining of both soprano and tenor ideas, until at the end the text is restated to a transformed melody with chordal accompaniment. From the start Reich uses a mixture of time signatures that vary almost continuously between lengths of 4 to 9 quavers. Groupings of bar lengths begin to emerge and then changes in this underlying fabric serve to define sections, such as the tenor organa and the false canon.
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Unlike the other two opus 59 quartets, this one does not have an explicit "Theme Russe" in any of its movements. Nevertheless, it can be argued that this second movement with its sparse texture and comfortless melodies, evokes a Russian feel by bringing to mind the vast, barren and desolate landscape of the Siberian tundra. The quartet's third movement is a lighter menuetto which provides the motif that is subsequently turned upside down for the last movement, a fugal allegro molto that begins with the viola and adds the second violin, cello and first violin in that order. The movement is in alla breve time and is almost a perpetuum mobile in quavers.
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Kerman, J. Concerto Conversations, HUP (1999) The tune is played by the solo violin itself before a short codetta ends the exposition section of the opening movement. The opening two themes are then combined in the development section, where the music builds up to the innovative cadenza, which Mendelssohn wrote out in full rather than allowing the soloist to improvise. The cadenza builds up speed through rhythmic shifts from quavers to quaver-triplets and finally to semiquavers, which require ricochet bowing from the soloist.Mendelssohn, F. Violin Concerto in E minor, Op. 64, Bärenreiter (2005) This serves as a link to the recapitulation, where the opening melody is played by the orchestra, accompanied by the continuing ricochet arpeggios by the soloist.
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The music of the ritornello, including the different quaver figures in the accompaniment, is re-used throughout the rest of the movement, the thematic material recurring mostly in shortened fragments. After the ritornello, the harpsichord enters in the first of its solo episodes, 16 bars long. Its new melodic material contrasts with the ritornello, with sustained notes and graceful ornamentation typical of the galant style, at first accompanied only by repeated quavers in the left hand and upper strings. 700px The ripieno section responds with one of the later segments of the ritornello; this is followed by a shorter episode for harpsichord which incorporates semiquaver motifs from the ritornello; and the ripieno responds with a variant of the semidemiquaver motto.
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A well-known example as a technique is the presto finale of Frédéric Chopin's Piano Sonata No. 2: This figuration of rapid triplet quavers (eighth notes) continues for the duration of the movement. As a distinct composition, perpetuum mobile can be defined as one in which part or most of the piece is intended to be repeated an often unspecified number of times, without the "motion" of the melody being halted when a repeat begins. Canon are often intended to be performed in a moto perpetuo fashion, and can thus be called canon perpetuus. In some cases the repeats of a "perpetuum mobile" piece are at a different pitch, while a modulation or a chord progression occurs during the repeatable part.
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Tomás Luis de Victoria, composer of the theme upon which the piece is based Both sections of the piece are based on a theme from a motet, Ecce sacerdos magnus ("Behold a great priest"), by the Spanish composer Tomás Luis de Victoria (or "Vittoria", 1548–1611). The theme, which comes from a plainchant melody used in Vittoria's day on the feast day of a saint and bishop, is nine notes long and does not range widely. The Prelude, which is in time (four minims to a bar), opens with a statement of the theme played on the pedals in quintuplets (five quavers played in the time of four), marked ff, (fortissimo, "very loud"). The theme is repeated frequently in the pedals during the prelude, which is marked "largamente" ("broadly").
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In 1996, Chesnutt was exposed to a wider audience with the release of the charity record Sweet Relief II: Gravity of the Situation, the proceeds from which went to the Sweet Relief Fund. The album consisted of Chesnutt covers by famous musicians including R.E.M., Madonna, Garbage, The Smashing Pumpkins (with Red Red Meat), Cracker, Soul Asylum, and Live. For the 2007 edition of the Vienna International Film Festival (Viennale), New York filmmaker Jem Cohen was commissioned to close the festival, which he did with his program entitled, Evening's Civil Twilight in Empires of Tin. An impressionistic narrative was constructed through live readings from the texts of Joseph Roth and a live musical score performed by Vic Chesnutt, members from Thee Silver Mt. Zion Memorial Orchestra, Guy Piciotto (Fugazi), and The Quavers.
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The vocal line evokes the galloping effect by repeated figures of crotchet and quaver, or sometimes three quavers, overlying the binary tremolo of the semiquavers in the piano. In addition to an unusual sense of motion, this creates a flexible template for the stresses in the words to fall correctly within the rhythmic structure. Loewe's version is less melodic than Schubert's, with an insistent, repetitive harmonic structure between the opening minor key and answering phrases in the major key of the dominant, which have a stark quality owing to their unusual relationship to the home key. The narrator's phrases are echoed by the voices of father and son, the father taking up the deeper, rising phrase, and the son a lightly undulating, answering theme around the dominant fifth.
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As a contrast, Bach then punctuates the long ornate phrases by a handful of brief and accented baroque motives: in bar 23, there is an unmistakable reprise of the Dux canon in the soprano voice serving as a baroque ritornello, brief and fragmentary, with diminutio semiquavers instead of quavers; there is an easily recognised quotation of the first lines of the cantus firmus, "Vom Himmel hoch da komm' ich her", in diminutio semiquavers instead of minims; and there is a further reprise of the short ritornello in bar 34. The last page of the autograph manuscript, BWV 769a, the closing bars of the canon per augumentationem. It ends manuscript collection P 271 with the surviving fragment of the so-called "deathbed chorale", Vor deinen Thron tret' ich, BWV 668 (not in Bach's handwriting).
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600px The seventh concerto is the only one for full orchestra: it has no solo episodes and all the movements are brief. The first movement is a largo, ten bars long, which like an overture leads into the allegro fugue on a single note, that only a composer of Handel's stature would have dared to attempt. The theme of the fugue consists of the same note for three bars (two minims, four crotchets, eight quavers) followed by a bar of quaver figures, which with slight variants are used as thematic material for the entire movement, a work relying primarily on rhythm. The central expressive largo in G minor and time, reminiscent of the style of Bach, is harmonically complex, with a chromatic theme and closely woven four-part writing.
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1 some forms, like Balboa, developed within Euro- American or other ethnic group communities. Dances such as the Black Bottom, Charleston, Shag, and Tap Dance travelled north with Dixieland jazz to New York, Kansas City, and Chicago in the Great Migration (African American) of the 1920s, where rural blacks travelled to escape persecution, Jim Crow laws, lynching and unemployment in the South (during the Great Depression). Swinging jazz music features the syncopated timing associated with African American and West African music and dance—a combination of crotchets and quavers which many swing dancers interpret as 'triple steps' and 'steps' — yet also introduces changes in the way these rhythms were played—a distinct delay or 'relaxed' approach to timing. Swing dance is now found globally, with great variety in their preferences for particular dances.
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He added that the piece should be played at the metronome marking, without rubato. ;Danse villageoise (Village dance) A minor, 2/4; Allegro risoluto (dedicated to Yvonne de Montesquieu) Danse villageoise, in a more traditional ternary form, provides a slightly heavy-footed contrast and illustrates the rustic spirit of Chabrier yet with precise polyphony (with some elements of Beethoven's Piano Sonata No. 25). The decisive scherzo is in A minor while the hesitating trio in the major. ;Improvisation B-flat major, 6/8, 2/4; Andantino – Appassionato e con impeto – molto con impeto – moderato (dedicated to Marguerite Gagne) 'Fantasque et passionnée' with the greatest variety of rhythms, the hints of methods which become common in Debussy (e.g. four dotted quavers in a bar of 6/8): the bars become at times ¾ or 2/4.
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' These were quavers or semiquavers connected in pairs or series by one or two horizontal strokes at the end of their tails, the last note of the group retaining in the early examples the characteristic up-stroke. Hawkins observes that the Dutch printers were the first to follow the lead in this detail. In 1665 he caused every semibreve to be barred in the dance tunes; in 1672 he began engraving on copper plates. Generally, however, Playford clung to old methods; he recommended the use of lute tablature to ordinary violin players; and he resisted, in an earnest letter of remonstrance (1673), Thomas Salmon's proposals for a readjustment of clefs. Playford's printers were: Thomas Harper, 1648–1652; William Godbid, 1658–1678; Ann Godbid and her partner John Playford the younger, 1679–1683; John Playford alone, 1684-1685.
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A melody or series of notes is augmented if the lengths of the notes are prolonged; augmentation is thus the opposite of diminution, where note values are shortened. A melody originally consisting of four quavers (eighth notes) for example, is augmented if it later appears with four crotchets (quarter notes) instead. This technique is often used in contrapuntal music, as in the "canon by augmentation" ("per augmentationem"), in which the notes in the following voice or voices are longer than those in the leading voice, usually twice the original length. The music of Johann Sebastian Bach provides examples of this application:Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5 Other ratios of augmentation, such as 1:3 (tripled note values) and 1:4 (quadrupled note values), are also possible.
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According to , the compositional style is similar to that of the thirteenth Goldberg Variation, BWV 988, including the elaborate ornamentation of the soprano melody. The unusual change of instrumental timbre from harpsichord to organ fits unexpectedly well with Variatio IV. At the conclusion of Variatio IV, above the fourth line of the cantus firmus, the right hand weaves an elaborate coloratura line. In the middle parts the slower dragging Bach motif comes to a climax: the alto voice plays the motif B-A-C-H in the last quavers of bar 39, and then, in the four semiquavers with upbeat on bars 40–41, the backwards (or retrograde) motif H-C-A-B. Bach further enhances the musical material by closing the final bars with the Comes canon of Variatio IV, essentially the same initial bars as the starting Dux canon of Variatio I. At the peaceful coda, elegiac piping motifs are repeated over a pedal point.
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The later the choice, the softer the dynamics.Score and instructions reproduced in Pace 1997, 9. Skempton later called such pieces "landscapes" that "simply project the material as sound, without momentum."Parsons 1987, 21. Other early works include two pieces for tape, a medium Skempton rarely used later: Indian Summer (1969) and Drum No. 3 (1971). The early 1970s saw a slow shift from static, abstract pieces to pieces with more clearly defined rhythmic and harmonic structures, although the methods and forms Skempton used remained unorthodox. For instance, in the series of Quavers piano pieces (1973–75) the music consists solely of repeated chords with no pauses between them. In addition to "landscapes" two other categories appeared, dubbed "melodies" and "chorales" by the composer. The "melodies" are single melodic lines either with simple accompaniment (Saltaire Melody, for piano (1977)) or suspended in space (later works such as Trace for piano (1980) and Bagatelle for flute (1985)).
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He has also appeared on fellow DC post-punkers Decahedron's debut album Disconnection_Imminent, as well as on a project with Red Hot Chili Peppers guitarists John Frusciante and Josh Klinghoffer, known as Ataxia. The group has recorded two albums, Automatic Writing (2004) and AW II (2007). Picciotto currently works as a record producer most notably with Blonde Redhead and The Blood Brothers, and he has performed alongside members of The Ex at the Jazz festival in Wels, Austria. Picciotto also contributed guitar on two Vic Chesnutt albums, 2007's "North Star Deserter and 2009's At the Cut (co-producing the latter), for Constellation Records and performed live with Chesnutt and members of Thee Silver Mount Zion Memorial Orchestra and The Quavers in Jem Cohen's program entitled, "Evening's Civil Twilight in Empires of Tin at the Vienna International Film Festival (Viennale) in 2007 (a DVD of the program was released in 2009).
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In the later 20th century, composers such as La Monte Young, Arvo Pärt, Philip Glass, Terry Riley, Steve Reich, and John Adams began to explore what is now called minimalism, in which the work is stripped down to its most fundamental features; the music often features repetition and iteration. An early example is Terry Riley's In C (1964), an aleatoric work in which short phrases are chosen by the musicians from a set list and played an arbitrary number of times, while the note C is repeated in eighth notes (quavers) behind them. Steve Reich's works Piano Phase (1967, for two pianos), and Drumming (1970–71, for percussion, female voices and piccolo) employ the technique called phasing in which a phrase played by one player maintaining a constant pace is played simultaneously by another but at a slightly quicker pace. This causes the players to go "out of phase" with each other and the performance may continue until they come back in phase.
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Robinson writes in 1811: > His trills, shakes and quavers are, like those of all the other great > singers, tiresome to me; but his pure melody, the simple song clearly > articulated, is equal to anything I ever heard. His song was acted as well > as sung delightfully; I think Braham a fine actor while singing; he throws > his soul into his throat, but his whole frame is animated, and his gestures > and looks are equally impassioned. Mount Edgcumbe, in his memoirs, discriminates Braham's styles more closely: > All must acknowledge that his voice is of the finest quality […] he has > great knowledge of music and can sing extremely well. It is therefore the > more to be regretted that he should ever do otherwise, that he should ever > quit the normal register of his voice by raising it to an unpleasant > falsetto […], that he should depart from a good style and correct taste […] > to adopt at times the over-florid and frittered Italian manner; at others, > to fall into the coarseness and vulgarity of the English.
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Alison Latham (ed), "Cross-rhythm", The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002). In compound time ( or ). Where a regular pattern of two beats to a measure is established at the start of a phrase. This changes to a pattern of three beats at the end of the phrase. Archaic hemiola The minuet from J. S. Bach's keyboard Partita No. 5 in G major articulates groups of 2 times 3 quavers that are really in time, despite the metre stated in the initial time- signature Alison Latham (ed.), "Cross-rhythm", The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002).. The latter time is restored only at the cadences (bars 4 and 11–12): Bach: Minuet from Partita 5 in G bars 1–12 Bach: Minuet from Partita 5 in G bars 1–12 Later in the same piece, Bach creates a conflict between the two metres ( against ): Bach Minuet from Partita 5 in G bars 37–52Bach: Minuet from Partita 5 in G, bars 37–52.
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Sensations flavours include smoked cheddar and crispy bacon, Thai sweet chilli, Caribbean jerk chicken, balsamic vinegar and caramelised onion. Walkers introduced the streaky bacon Quavers flavour to salt & vinegar and prawn cocktail in August 2002. After buying the brand from Golden Wonder, Walkers has produced Wotsits since 2003 In January 2003, Smiths brands Salt 'n' Shake, Scampi Fries and Bacon Fries were relaunched under the Walkers identity. In January 2003 Walkers bought Wotsits from Golden Wonder, which replaced Cheetos during December 2002. In April 2004, Walkers launched Flamin' Hot version of Wotsits, which replaced BBQ beef, and then Wotsits Twisted, a range of cheese puffs in July 2004. In September 2007, Walkers launched Sunbites, a healthier range of lower/better fat crisps made using whole grains. In July 2008, Walkers launched its "Do Us a Flavour" campaign, challenging the public to think up unique flavours for its crisps. In January 2009 six flavours were chosen from among the entries and released as special editions, available until May 2009.
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