Those were what made the show go: syncopation, fire, artistry.
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In other songs, he rode the groove with nimble, airborne syncopation.
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There are too many moving parts to find that perfect syncopation.
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Eating disorders are complicated dances with chaos, full of syncopation and key changes.
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And to this day he often resorts to musical analogues: bebop, rhythm, syncopation.
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" You'll see Sam Hunt stroll through the audience to the syncopation of "Downtown's Dead.
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Modest Mouse songs are all about rhythmic syncopation and this would be no different.
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But his ears are attuned to the faintest false note in the mechanical syncopation.
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"New York, New York," is quintessential Bernstein: an exuberant opening with his trademark syncopation.
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And they spin it differently, and the syncopation is different, the tone is different.
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Almost all skilled MCs use syncopation to create complex rhythmic patterns that defy expectation.
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"Phoenix" begins with a simple four-on-the-floor beat, then gradually adds cheerful syncopation.
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There, he&aposs using a technique called syncopation, which is a major part of rap flow.
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That contrary syncopation underlines the song's propulsive drive and sets apart its shiny jingle of a chorus.
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The song is famously hard to cover, especially because of the weird syncopation of the its chorus.
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Like a lot of ballroom, there's a noticeable Jersey club influence, in both syncopation and sassy vulgarity.
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Then we heard the tin roof of the building across the street rattling an increasingly rapid syncopation.
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Then he told the horns to play back their parts, this time with the syncopation sharpened up.
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We're instantly reminded of the syncopation in their songs, a technique that is so specific to Destiny's Child.
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"She's a new girl now," Ms. Michaels, 22, sang with finger-snapping pop-soul syncopation for maximum catchiness.
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Everything sounds a little richer, and the smiley-happy-shiny-glitchy "Meetings" packs a bit more syncopation in.
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Harding told Romano that it's a combination of syncopation and fantasy video game elements, but also supreme silliness.
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By whatever means, Hayes was able to coax out sounds that could shift from slippery syncopation to dizzying, psychedelic crescendos.
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It delved into odd meters and demanded pinpoint syncopation, and it often hinted at Asian, African and Middle Eastern music.
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The syncopation, on the offbeat, creates a clave rhythm that really brings out that Latin/tropical flavour that Bieber probably wants.
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The syncopation [starts rapping "The Way I Am"]: 'I sit back with with this pack of Zig-Zag's and this bag.
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That's just something that has to do with works of art: You have a basic rhythm and then you have syncopation.
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To me, this track just screams Roy Orbison: classic with his syncopation of delivery and that lifting vocal he was famous for.
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While he sings, percussion pecks at offbeats before settling into 4/4, while piano and pizzicato strings continue to pelt him with syncopation.
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But his memoir, like Guo's, also captures a China where the syncopation of pile drivers only adds to the drumbeat of national optimism.
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Another musical principle that haunts Schumann's work, and makes it so ideal for exploration of the kinetic qualities of emotion, is — oddly — syncopation.
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He's not after swingy, happy syncopation, the kind you find in ragtime, which lightens a simple tune and makes it feel less foursquare.
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He combines swing and syncopation with ambitious improvisation, and blends these jazz elements with the splendid melodies of the sort conjured by folk players.
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Thundering syncopation and a parade through the audience opened the first part of Soundtrack of America, a five-concert survey of African-American music.
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Mr. Clapton was joined by two backing vocalists and a lean but sturdy quintet, tugged along by the game syncopation of Steve Gadd's drumming.
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It is a neat syncopation of visual rhythm, offhand figuration, and multi-media blending that delivers a vision that feels unique, challenging, and deeply, authentically Detroit.
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In the "Mack the Knife" captured on "Darin At the Copa," his voice sounds grittier than on the hit single, and his syncopation is more playful.
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Her new album, "Oh No," pairs soft R&B vocals with the cold, quick syncopation of Chicago footwork, then adopts a defiant tack with electro bubble gum.
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The syncopation of the guitar riff, he said, reminded him of "ancient Japanese R&B" — which he acknowledged "isn't a thing" — so the video concept followed suit.
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Here's a little of it: splitting and scraping her tones … descended from hocketing and Western choral music and the World Saxophone Quartet and Battle Trance … Teutonic syncopation.
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The beat is closer to the buoyant bass and intricate syncopation of early productions by the Neptunes, Mr. Williams's old crew, and it forces Skepta into unexpected cadences.
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The drums on "Teenage Heart" start with that four-on-the-floor, then you add some syncopation, then they culminate with a big four-on-the-floor conclusion.
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But for a seemingly brief flash of the pan, there were jazz—with its fiery strumming and its bold syncopation—the epochal anthem of Atlanta's ascent to greatness.
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The next piece, "Depridation," began with a dry and spare pattern from Mr. Weiss, his unadorned and menacing syncopation bearing eerie hints of Elvin Jones and J. Dilla.
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Elsewhere in the piece, he waits a little bit less than Monk would have between chords, erasing the potato-sack thwack of syncopation that typically defines the tune.
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His mix of nuanced syncopation and raw power helped define some quintessential hard-bop groups of the 1960s, led by figures such as Cannonball Adderley and Oscar Peterson.
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As an artistic statement, "Tommy Tune, Tonight!" is a lighthearted essay in syncopation that calls attention to the relationship between patterns of drumbeats and the sound of tap shoes.
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Reinhardt and his band smirk as they read a list of strictures: no blues, no more than 5% syncopation, no solos lasting more than five seconds, and so on.
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With Jen Shyu on wordless vocals, and a three-horn section rendering punchy patterns, Mr. Sorey becomes the fulcrum, holding things together with tightly bound beats and bustling syncopation.
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On the opening track of this duo's new album, "Expedition," Mr. Marsh's sense of syncopation on the drum kit refers back to before even the establishment of jazz rhythm.
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We broke the story ... a company that owns a third of "Let's Get It On" claims Ed jacked the melody, rhythms, harmonies, drums, bassline, tempo, syncopation and ... yeah, basically EVERYthing.
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It amounts to a kind of conceptual syncopation — the making of an art work that is simultaneously a performance of being an artist — and it kept me thoroughly off balance.
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But it's also replete with syncopation: Its words land on the off-beats, and it uses rhythms that didn't really exist in the historical medieval culture it's attempting to channel.
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Mudiay's relatively poor showing around the basket is often caused by the same syncopation, running or sashaying himself into leaps off the wrong foot, or from strange places and angles.
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"Sound and image achieve an unusually precise and gripping, even fugue-like syncopation," Roberta Smith of The New York Times wrote in reviewing "Grosse fatigue" at the 2014 New Museum show.
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Alongside the announcement, the band shared the album opener, "Coolverine," an inquisitive six-minute instrumental that builds towards gentle syncopation and an eventual crescendo while still holding plenty of chaos back.
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Featuring a tambourine, triangle, and tam-tam, the suite's second movement attempted to capture the vitality of black vernacular dance with syncopation, unusual chromatic lines and colorful effects in the strings.
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A perfect visual compliment to the track's meditative nature, the video features a variety of shapeshifting trees, whose leaves gently fall, rise, and twirly in syncopation with the tracks evolving crescendos.
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Tchaikovsky's overture — with instruments playing high, fast and bouncy — is on the miniature scale of childhood itself, with passages of rhythmic syncopation that embody the excitement of a child's eager anticipation.
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And Mr. Ovalles, on a sensitively changing series of instruments, pinpoints every shift of syncopation as the three players move through kaleidoscopic permutations of what a six-beat rhythm can do.
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Many of these songs hint at hip-hop, through thumping beats or added syncopation in the vocal line—the next phase, perhaps, of the country-rhythm revolution begun by Bob Wills, in 1944.
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Keith Richards and Ron Wood, the Stones' guitarists, played nonstop games of syncopation and suspense amid the band's well-known riffs, while Mr. Jagger raced all over the stage without missing a note.
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When I was growing up, I did more tap dance than ballet, and I'm only realizing now that this early training in rhythm and timing and syncopation has really played into my work.
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Installed to trace the couple's travels to different pre-Hispanic sites, "Josef Albers in Mexico" has an energetic syncopation generated by the paintings' singing colors, which alternate with the silvery sepia of the photographs.
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And just as I was feeling that, for all the wonderful speed of this genre, everything was too metrically regular, a number of solos confounded me, with effects of complexity and syncopation that astounded.
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Leon (Ndugu) Chancler, a drummer whose crisp grooves and pinpoint fireworks of syncopation were heard on hundreds of albums — including Michael Jackson's "Thriller," on which his drumbeat starts the song "Billie Jean" — died on Feb.
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G.R. One rhythm persists all the way through "VVVVV" by the Paris-based D.J.-producer Bambounou; a three-beat pattern defined by a deep, reverberating tom-tom (or timpani?) with a quieter syncopation layered in.
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At its most traditional, a pounding surdo beat provides the underlying structure for each piece, with musicians often layering interlocking rhythms composed of claps, hand drums, and other percussive instrumentation in stiff syncopation above the beat.
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Both are streaming over at Pacific Beach Vinyl's webstore; Four Tet's adds some spaced-out, cosmic flavor to the piano jab-and-apreggiation combo, while Thomas tightens things up and emphasizes the syncopation of the groove.
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On the title track from the second album, he covers a little-known New Orleans R&B gem, superimposing the whirlpool syncopation of an Elvin Jones beat onto what was once a perky doo-wop tune.
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"Jive Coffee," also included on the original album, is a loping Bernstein composition that harks to Wes Montgomery, lacing subtle, Afro-Latin syncopation into a loose swing feel, but warping it into a five-beat cycle.
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George Porter Jr. on bass and Joseph (Zigaboo) Modeliste on drums were the rhythm section of the Meters, the band that defined New Orleans funk in the 1960s and 1970s as a marvel of staggered syncopation.
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"Forest Green" is languid and falsetto-filled, "Lyla" has an irrepressible syncopation, and "Hymnostic" is a piano ballad with the type of rich harmonies that Vernon could only have dreamed of writing in his DeYarmond Edison days.
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It is music for voices, drums and bamboo trumpets that each play one note (sounding like the syllable "bu"), hooting in complex patterns of syncopation, akin to the rara music of Haiti and the gaga music of the Dominican Republic.
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His last album, Tempo e Magma (Time and Magma) was released three years ago and on the single "Congo-Angola-Bahia," he fills the first 46 seconds with a heady mix of African instruments whose sounds flow in singular melodic syncopation.
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In a white, cube-shaped room about 18 feet on a side, the black swatches fill the upper halves of two opposite walls and the lower halves of the others, creating an enveloping syncopation of impenetrable darkness and blinding light.
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" Discovering his true voice meant rejecting European models and finding a way to use language that captured, as he put it, "that sibilance that the sea suggests, that glitter of the water, that syncopation of wave, that feel of wind on the skin.
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It's just one of the questions he grapples with — about neighborhood, celebrity, love, hip-hop, racism, politics and private pain — in tracks that use sparse, brittle electronic sounds for jittery syncopation and gaping spaces, an abstracted dance-club backdrop for aspirations and nightmares.
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A slower, darker section sets in as Mr. Allison abandons his shimmying syncopation for a fatter, more thrashing attack; Mr. Cardenas takes the tune's only solo, a short, nonidiomatic trip that begins with distorted notes and sustained harmonics, then wanders into some unbluesy riffs.
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Mr. Neville vows devotion through the toughest circumstances — "If you got something to go through, need someone to hold you, just take my hand" — as he cannily threads his tenor through the rapid-fire syncopation; congas patter, hi-hats hiss, horns punch and keyboards and guitar chatter and scrub.
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The low-key M.V.P. was Mr. Ross, a slight player in his early 20s whose vibraphone was sometimes like a spray of confetti, erupting in brilliant bursts; elsewhere he took solos that had the slightest tug of swing, leaning against the locked-in syncopation of the rhythm section.
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The Los Angeles-based company claims in the court documents that Sheeran&aposs "Thinking Out Loud," released in 2014 on his second album, x , copies various assets of "Let's Get It On," including but not limited to the melody, rhythms, harmonies, drums, bass line, backing chorus, tempo, syncopation and looping.
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According to the complaint filed in Manhattan federal court, "Thinking Out Loud," which peaked at No. 2 on the Billboard Hot 183 in February 2015, copies the "melody, rhythms, harmonies, drums, bass line, backing chorus, tempo, syncopation and looping" of "Let's Get It On," which hit No. 1 in September 1973.
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Previously released only in Japan, the worldwide release of #N/A, which arrives in April from On-U Sound, features five tracks, including "#5"—premiering today on THUMP—a cut that perfectly captures Nisennenmondai's noise syncopation technique with chugging metallic guitar, whipshot percussion, and four-on-the-floor bass lines.
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SALVADOR, Brazil — This northeastern Brazilian city is famous for its Afro-Brazilian drumming traditions; the internationally acclaimed bloco-afro band Olodum has broadcast its colorful drums and pounding syncopation internationally for decades through music collaborations including Michael Jackson's "They Don't Really Care About Us" and Paul Simon's "The Obvious Child".
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Structured Asset Sales has filed a suit against Sheeran claiming his song "Thinking Out Loud" plagiarizes the melody, rhythms, harmonies, drums, bassline, backing chorus, tempo, syncopation and looping of Marvin Gaye's "Let's Get It On." Those are...a lot of things, but this isn't the first time that song has faced legal troubles.
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First with her debut EP—In Defense Of My Muse (out on Cascine) and in recent months dropping the likes of "If Only Chords"—a hypnotic, slow-dive kind of R&B-pop, and "Plucky" which, just like its title suggests, picks up the sass with finger clicks and her sleek vocal syncopation.
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The walls of his Madison Avenue flagship were lined with 100,000 white orchids, 300 air plants and desert agave (all of which will remain in situ at least for the immediate future, so shoppers can see them, too), and a sprinkling of automated butterflies with wings that opened and closed in syncopation.
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Imagine the aural onslaught of Deftones without all the sad-sackiness, combined with the soul-filled syncopation of Every Time I Die without the good ol' boy shtick, and throw in the animalistic invention of At the Drive-In without the college-boy self-importance—add a wink and a worn-in smile and you'd have the new Glassjaw.
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I'd be a dumbass if I didn't give credit to Chilly Gonzales' Pop Music Masterclass video series for doing theoretical analyses of pop songs first before I made it more or less my thing on this site (dude, if you're reading this, I totally borrowed that bit about the syncopation in "Hold On, We're Going Home" for a piece).
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The DJs from South Africa's Gauteng Province revel in Muajva's first release in a long time with "Sgubhu Dance," an adrenalized cut from the EP. Paired potently with piercing snare syncopation, the song's melody is a raw, very-distant relative from the main riff from "Kernkraft 400," and you can easily imagine it chanted in a soccer arena.
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A company called Structured Asset Sales filed the lawsuit, claiming Ed's song, "Thinking Out Loud," is a carbon copy of Gaye's "Let's Get it On." According to the lawsuit, Sheeran's song has the same melody, rhythms, harmonies, drums, bassline, backing chorus, tempo, syncopation and looping as "Let's Get it On." Gaye's song was written by a guy named Edward Townsend and Gaye in 1973.
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Later, when the house camera catches him staring up at his drummer, his back to the audience, flashing an awed grin, holding his pose while the syncopation of "Stand Tall" crescendos, looking like a Broadway leading man facing up to a cardboard cutout of a mountain, his coke-white jumpsuit pulled down around his waist, are we supposed to think that he's about to climb some Everest?
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But somewhere around the three-minute mark, the syncopation gets out of control, singer Andy Partridge drops his vocal so low it sounds like half-heard murmurings down an endless corridor, in a sanitarium wired with faulty electrics, (or could those be the voices in your head?), meanwhile the song's mathy tendencies and slight psych lean cycle maddeningly on and on and on and on.
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J.P. Earlier this month Cameron Graves, the pianist in Kamasi Washington's West Coast Get-Down, released "Planetary Prince: The Eternal Survival EP," a follow-up to his fine debut album, and on Monday he unveiled a video for "The End of Corporatism," featuring the live performance caught on the EP. Mr. Graves's pianism is equal parts classical rigor, metal thrash and hip-hop syncopation.
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In "Ravel Ravel," by producing a situation where two pianists play the same concerto, but with shifts that take them out of sync and then back into sync, one starts to hear things that only came about later in the history of music: The composition travels across time to become at moments jazzy, at moments serialist, at moments about syncopation, and at moments more like minimal music from the '70s or the '80s.
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Sometimes there is a cheeky little syncopation. Irish music also uses syncopation, but only in short doses. Running time 59 minutes 56 seconds. Released 2004.
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Many dance teachers criticise the use of the term "syncopation" and abandon it in favour of the term "double-time". Thar is most likely because of a convenience in similarity and/or a misunderstanding of the rhythmic concept. Dance syncopation often matches musical syncopation, such as when (in West Coast Swing) the leader touches slightly before beat 3 or stomps on beat 6.
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Rolling Stone also notes the Latin style, with numerous instances of syncopation.
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Syncopation was shot in New York City. It was originally slated to be titled Stepping High.
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However, the syncopation in three-count hustle also be danced: 1&23, 12&3, or 123&.
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Syncopation is used in many musical styles, especially dance music: "All dance music makes use of syncopation, and it's often a vital element that helps tie the whole track together". In the form of a back beat, syncopation is used in virtually all contemporary popular music. Syncopation can also occur when a strong harmony is simultaneous with a weak beat, for instance, when a 7th-chord is played on the second beat of measure or a dominant chord is played at the fourth beat of a measure. The latter occurs frequently in tonal cadences for 18th- and early-19th-century music and is the usual conclusion of any section.
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Meter and Syncopation Another element of a rhythmic curriculum is the exploration of meter and syncopation. In particular, the study of meter should incorporate an organization of pulses and subdivisions. This organization can be expressed in a "meter chart," which can include both equal-beat and unequal-beat meters. The study of syncopation, a broad term that can involve a variety of rhythms that fall unexpectedly or somehow displace the pulse, is also essential in a rhythmic education.
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Her use of breaks, syncopation and harmonic invention re-image the songs into something original and nearly unclassifiable.
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When it returns in figure I, Nyman has added tremolo, as well as syncopation more characteristic of his own style.
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Many pieces have influences from jazz and Western music, using syncopation and triple time. This music tells stories, myths and legends.
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Orovio, Helio. 1981. Diccionario de la Música Cubana, Havana: Editorial Letras Cubanas, p. 237. . Cakewalk music incorporated polyrhythm, syncopation, and the hambone rhythm into the regular march rhythm.. Schuller considers the syncopation of the hambone rhythm to be "an idiomatic corruption, a flattened-out mutation of what was once the true polyrhythmic character of African music".Schuller, Gunther (1968).
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His subtle, syncopated rhythms make one think of jazz; > but the syncopation is made audible, often, by the underlying presence of > meter...
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Kluge accepts gutturalizing of a palatal c before a consonant where this position is the result of syncopation of a palatal vowel.
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In August 1929 this movie house was the first to show a sound film in the Philippines, which was the American movie Syncopation.
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The Fanchon and Marco Time Agency hired them for thirteen weeks for the revue The Syncopation Idea starting at the Boulevard Theater in Los Angeles and then on the Loew's circuit. They each earned $75 a week. As minor parts of The Syncopation Idea Crosby and Rinker started to develop as entertainers. They had a lively style that was popular with college students.
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The group appeared in early talking motion pictures, including four Vitaphone Varieties musical shorts produced by Warner Brothers and Modern Song and Syncopation (1927).
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Tap dance makes frequent use of syncopation. Tap dance choreographies typically start on the eighth beat, or between the eighth and the first count.
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He noted Rutter's characteristics as "lingering around a nostalgic third or fifth of the scale, exercising a catchy phrase in sequences, introducing a little groovy syncopation".
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Empty terminal nodes correspond to rests or form part of a note that spans several beats. Syncopation in music can result when relatively strong nodes are empty.
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The basic salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the inherent syncopation to the Salsa dancing and ensures that it takes 8 beats of music to loop back to a new sequence of steps. Different styles employ this syncopation differently. For "On1" dancers this rhythm is described as "quick, quick, quick, pause, quick, quick, quick, pause".
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Cross picking is a flat picking technique which allows the mandolin to emulate the syncopation of the banjo roll or the fiddle shuffle bowing. It creates a cheery, toe-tapping effect.
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Addition was indicated by placing the numbers side by side, subtraction by placing a dot over the subtrahend, and division by placing the divisor below the dividend, similar to our notation but without the bar. Multiplication, evolution, and unknown quantities were represented by abbreviations of appropriate terms. The extent of Greek influence on this syncopation, if any, is not known and it is possible that both Greek and Indian syncopation may be derived from a common Babylonian source.
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Stafford said that her arrangement had to be adapted because Astaire had difficulty with some of the syncopation. In her words: "The man with the syncopated shoes couldn't do the syncopated notes".
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Eurhythmics classes can incorporate various activities to explore syncopation, including complex rhythmic dictations, the performance of syncopated rhythms, the exploration of syncopated rhythms in canon, and a general discussion of syncopated vocabulary.
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One collection done by Volodymyr Shukhevych in 1905, contains more than 8,000. Although a very old form they continue to be popular due to their fast, energetic and exciting melodies often with syncopation.
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This sprightly variation contrasts markedly with the slow, contemplative mood of the aria. The rhythm in the right hand forces the emphasis on the second beat, giving rise to syncopation from bars 1 to 7. Hands cross at bar 13 from the upper register to the lower, bringing back this syncopation for another two bars. In the first two bars of the B part, the rhythm mirrors that of the beginning of the A part, but after this a different idea is introduced.
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Speech featured a heavy stress on the first syllable of a word, causing syncopation by weakening of the remaining vowels, which then were not represented in writing: Alcsntre for Alexandros, Rasna for Rasena. This speech habit is one explanation of the Etruscan "impossible consonant clusters". The resonants, however, may have been syllabic, accounting for some of the clusters (see below under Consonants). In other cases, the scribe sometimes inserted a vowel: Greek Hēraklēs became Hercle by syncopation and then was expanded to Herecele.
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Before jazz came to prominence, drummers often played in a style known as ragtime, where an essential rhythmic quality of jazz first really began to be used: syncopation. Syncopation is synonymous with being "off-beat", and it is, among many things, a result of placing African rhythms written in odd combinations of notes (e.g., 3+3+2) into the evenly divided European metric concept. Ragtime was another style derived from black musicians playing European instruments, specifically the piano, but using African rhythms.
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Syncopation is a musical term meaning a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off- beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals.Patterson, William Morrison, "Rhythm of Prose" (Introductory Outline), Columbia University Press 1917.
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It is repeated again with an orchestral counter-melody played by the cellos and strings at the same time, followed by pentatonic runs in the piano and continuing accompaniment in the orchestra. It climaxes to a chromatic scale run in the piano and resolves with Spanish-sounding syncopation in the orchestra. Piano Charleston syncopation reintroduces the sultry theme heard at the beginning of the piece. This time the piano plays the counter-melody while the orchestra plays the sultry theme.
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Bazelon's music lacks any regular pulse, instead it is characterized by unpredictable syncopation, irregular groupings, unexpected triplets, and off-beat accents. His theme music for NBC News opened the show from 1962 to 1977..
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According to Merriam- Webster, it means "sweet jazz of a style reminiscent of the 1920s". Jazz musician Max Kaminsky used the term to refer to the rhythmic style of "choppy syncopation" in ragtime music.
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When breathing out the head is leaned forward. The head is tilted back for an inward breath. Overall the effect is one of polyphonic syncopation. Unlike most other African tribes, Maasai widely use drone polyphony.
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Guarisco describes the melody of the song as "a rollicking pop melody" that employs syncopation. John's piano playing with fast chord changes is reminiscent of Jerry Lee Lewis. Instrumentation on the song also includes a mellotron.
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He recorded his first album as a leader in 1992 with the New York Big Band, which was active into the late 2000s.Cheerful Syncopation, Served with Spit-and-Polish Precision. New York Times, July 4, 2007.
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Advanced moves can include multiple speed, multiple turn spins, loss of contact, significant syncopation, dips and drops (in which one partner takes the weight of the other with their arms) and/or contact with different body parts.
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It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.
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The first section is played poco adagio with a sempre legato e placido indication at the start. There are gentle arpeggios and constant dynamic changes and syncopation, and the melody is often played in thirds or octaves.
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Bachata is still danced today in the Caribbean and all over the world, and has been evolving for several decades. It is increasingly danced to faster music, adding more footwork, simple turns and rhythmic free-styling with alternation between close (romantic) and open position. Bachata is danced with soft hip movements and a tap or syncopation (1, 2, 3, tap/syncopation). It can also be danced with or without bouncing (moving the body up on the beats and down again in between the beats by adding slight spring to ones legs).
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Sometimes, melodies with syncopation are written with the syncopation omitted, so the reader must be familiar with the songs "by ear" to play the melodies correctly. Some 32 bar forms do not have a printed melody during the "B" section, as the lead instrumentalist is expected to improvise one. Similarly, the chord progressions for some blues tunes omit the turnaround (often simply indicating two bars on the tonic), as it is expected that an experienced jazz player will know the appropriate turnarounds to insert (e.g., (I–VI7–ii–V7).
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As it played in film theaters, The Falcon Takes Over was considered a "co-feature" or the second half of a double bill.M.A."Syncopation: The Falcon Takes Over." St. Petersburg Times, July 8, 1942. Retrieved: September 4, 2016.
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But the witty wooing of Beatrice and Benedick is apparently original, and very unusual in style and syncopation. One version of the Claudio–Hero plot is told by Edmund Spenser in The Faerie Queene (Book II, Canto iv).
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Syncopation is a 1942 American film from RKO directed by William Dieterle and starring Adolphe Menjou, Jackie Cooper, and Bonita Granville. It is set during the early days of jazz. It is also known as The Band Played On.
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D. Maxine Sims has stated that Walker's piano technique is also reflected in his works, such as his Piano Sonata No. 2. This sonata contains changing meters, syncopation, and bitonal writing which all present great challenges for a performer to overcome.
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Also in the melodic line one can find characteristics similar to the morna (check main article — morna), for example the alternation between the main strophes and the refrain, the sweeping melodic line, the syncopation, etc. has changed it a little.
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Bert Glennon and director John Ford on the set of Stagecoach (1939) Bert Lawrence Glennon (November 19, 1893 – June 29, 1967) was an American cinematographer and film director. He directed Syncopation (1929), the first film released by RKO Radio Pictures.
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Syncopation (2004) is a 7,500 square foot, 11-section mural that beautified the Culver City Gateway community outside of Sony Pictures Studios and Kirk Douglas Theater in Los Angeles, California from 2004-2012. Called a “signature visual landmark” by The San Francisco Gate, Syncopation was created using mops as paintbrushes. When the mural was scheduled for demolition by property redevelopment, the Westside Neighborhood School won the bid to carefully relocate the mural to their new educational facility in Del Rey, California. Inertia in Motion on Sunset Boulevard (2011) injects color and dimension to the Chabad-Lubavitch Community Center.
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New Orleans is the birthplace of jazz. Jazz is a kind of music with strong rhythms and much syncopation, often improvised. Brass bands and piano players helped create this new sound. Jazz has spread across the planet , an ambassador for Louisiana culture.
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180 In the late 1930s and 40s, the danzonera Arcaño y sus Maravillas incorporated more syncopation and added a montuno (as in son), transforming the music played by charanga orchestras.Orovio, Helio: Cuban music from A to Z. Tumi Music Ltd. Bath, U.K., 2004, p. 17.
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Laing focuses on more innovative and challenging performance styles, seen in the various erotically destabilizing approaches of Siouxsie Sioux, the Slits' Ari Up, and X-Ray Spex' Poly Styrene.Laing (1985), pp. 89, 92–93. The lack of emphatic syncopation led punk dance to "deviant" forms.
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Born in Los Angeles, Lee was the daughter of Homer and Bess Millsap. She was of English descent. Lee started seeking film roles in 1929, after graduating from high school, but ended up in New York City working on the stage. Her first film was Syncopation (1929).
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His poetry made use of jazz syncopation and meter. The critic Raymond Foye wrote about him, "Adapting the harmonic complexities and spontaneous invention of bebop to poetic euphony and meter, he became the quintessential jazz poet."Foye, Raymond (March 1986), "Bob Kaufman, A Proven Glory." The Poetry Project Newsletter.
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Mozart's Symphony No. 25 (the 'Little' G-minor symphony, 1773) is one of only two minor-key symphonies by the composer. Beyond the atypical key, the symphony features rhythmic syncopation along with the jagged themes associated with Sturm und Drang.Wright, Craig and Bryan Simms. (2006). Music in Western Civilization.
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Pevernage also wrote Italian madrigals, in Italian; it was a wildly popular form even in northern Europe (the vogue in England was just beginning in the late 1580s), and also wrote many French chansons, published in four separate books. They make use of syncopation, melismas, and complex rhythms.
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Bassists often use a pick due to the rapid succession of notes, which makes fingerpicking impractical. Drums typically sound heavy and dry, and often have a minimal set-up. Compared to other forms of rock, syncopation is much less the rule. Hardcore drumming tends to be especially fast.
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Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. It is based on Yueju (Cantonese Opera) music, together with new compositions from the 1920s onwards. Many pieces have influences from jazz and Western music, using syncopation and triple time. This music tells stories and myths, maybe legends.
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The song was developed over a drum cadence written years earlier by Johnson. The melody was developed in collaboration with Wardell Quezergue. According to Dan Phillips, the song is an early example of incorporating second line syncopation into pop music. The song has become a Mardi Gras and a brass band standard.
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"Like a Bird" is the only song in English on this album, composed as a modern R'n'B style with a mix of Balinese gamelan instruments. The closing track on this album is "Country Beleganjur" with a Balinese cengceng (similar to cymbals) performed by four people playing a complicated syncopation of Balinese music.
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Cited in Middleton (1990/2002), p.212-13. prosodic rules which create rhythmic successions in order to explain or generate syncopations. "The syncopated pattern is heard 'with reference to', 'in light of', as a remapping of, its partner." He gives examples of various types of syncopation: Latin, backbeat, and before-the-beat.
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The third stanza is the most challenging, with frequent colla parte, a suspension of the syncopation and an accelerando into a lower register. It was the most popular of the songs in Sea Pictures. In this musical form, it was a great favourite in Britain, appearing in the classical favourites programme, Your Hundred Best Tunes.
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Like most other early sound-era cartoon characters, Ising's Goopy has little personality of his own. Instead, he sings and dances his way through a musical world in perfect syncopation. Ising only featured the character in three cartoons. In the first, "Goopy Geer" (April 16, 1932), he plays a popular pianist entertaining at a nightclub.
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Callaloo, No. 36 (Summer, 1988), pp. 597–605 As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role.
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It has three movements: #Allegro assai #Tempo di minuetto, ma molto moderato e grazioso - in E-flat major #Allegro vivace This sonata is characteristic of early/middle Beethoven in its solid sonata structure, just beginning to get adventurous in syncopation, with some extraordinary off beat sforzandi. The work takes approximately 18 minutes to perform.
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Thrash soon began to evolve and split into more extreme metal genres. Death metal utilizes the speed and aggression of both thrash and hardcore. Death metal uses extremely fast drumming, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical.
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Yordan went to Hollywood in 1938 to work for William Dieterle, who had been impressed by one of Yordan's plays. Yordan did some uncredited writing on The Devil and Daniel Webster (1941) and his first credit was for Syncopation (1942), directed by Dieterle at RKO. He also worked briefly at Columbia Pictures as a staff writer.
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As American Social Style is the only style allowed in bronze (beginner) level American Style dance competition, this style is sometimes also known as "American Bronze Foxtrot". The American Social style uses both six-count and eight-count figures. The rhythmic alteration between the two is one of the few potential difficulties in the dance. Syncopation is generally avoided.
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Modern Jive is a dance style derived from swing, Lindy Hop, rock and roll, salsa and others, the main difference being the simplification of footwork by removing syncopation such as chasse. The term "French Jive" is occasionally used instead, reflecting the origins of the style, as is the term "Smooth Jive". The word "modern" distinguishes it from ballroom Jive.
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Good Drummers Should Know. Hal Leonard Corporation. p. 16. . Somewhat resembling the "shave and a haircut, two bits" rhythm, Diddley came across it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle". Three years before his "Bo Diddley", a song with similar syncopation "Hambone", was cut by the Red Saunders Orchestra with the Hambone Kids.
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Everett Morton is a drummer and percussionist from Birmingham, England, most notable as the drummer for the early 1980s ska band The Beat. Originally from the West Indies, Morton is known for his distinctive drumming style that includes syncopation and polyrhythm in a rock beat. His reggae drumming helped give The Beat their characterful sound.The Beat biography musicianguide.
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Eventually, the hymns and the text of the Bible combined with many elements of music that the enslaved Africans had brought with them from Africa, such as antiphony (the call-and-response pattern) and syncopation. This eventually formed into the genre called Spirituals. Many other African-American music genres, such as gospel and jazz, developed from this genre.
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Much of Formby's virtuosity came from his right-hand technique, the split stroke, and he developed his own fast and complicated syncopated musical style with a very fast right-hand strum. Joe Cooper, writing in New Society, considered that "Nobody has ever reproduced the casual devastating right hand syncopation, which so delicately synchronised with deft left hand chord fingering".
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After The Syncopation Idea closed, they worked in the Will Morrissey Music Hall Revue. They honed their skills with Morrissey. When they got a chance to present an independent act, they were spotted by a member of the Paul Whiteman organization. Whiteman needed something different to break up his musical selections, and Crosby and Rinker filled this requirement.
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By far the shortest of the three, as it only includes one trio instead of two, this is a lively piece (allegro) in . The main section exhibits a great deal of syncopation. The trio is in two sections with repeats written out in a varied form. It is in D major and time with no change in tempo indication.
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The Shadows are difficult to categorise because of their stylistic range, which includes pop, rock, surf rock and ballads with a jazz influence. Most tunes are instrumental rock, with a few vocal numbers. Their rhythmic style is primarily on the beat, with little syncopation. They said in 1992 that "Apache" set the tone with its surf guitar sound.
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These rhythms consist of a tresillo, a pattern of three unequal notes, two cinquillos, patterns of five unequal notes, and the habanera, a rhythmic dance he had heard in Havana. Additionally, he varies both themes with examples of typical European virtuoso style. He couples the syncopation of Latin rhythms with the virtuosic lines of his European background.
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This then ends in some syncopation and finally, the piece repeats its original tune. Further on, there is a modulation to A flat major, where the main theme is repeated. The piece ends with the last three-quarters of the original motif, its repeat and a modulation back to the original key of E flat major.
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La Habana. p281 It is danced to the music of the same name introduced by Cuban composer and violinist Enrique Jorrín in 1953. This rhythm was developed from the danzón by a syncopation of the fourth beat. The name is onomatopoeic, derived from the rhythm of the güiro (scraper) and the shuffling of the dancers' feet.
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Using the device's keyboard, each of the sixteen rhythms can be produced individually or in any combination. A seventeenth key permits optional syncopation. The instrument produces its percussion-like sound using a system, proposed by Cowell, that involves light being passed through radially indexed holes in a series of spinning "cogwheel" discs before arriving at electric photoreceptors.Albert Glinsky, Theremin: ether music and espionage.
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After The Syncopation Idea closed, Bing and Al obtained work in the Will Morrissey Music Hall Revue. Their skills were further honed during their time with Morrissey and when they subsequently had the chance to present their own independent act, they blossomed. Some members of Paul Whiteman's Orchestra caught their act and recommended them to him. Whiteman hired them in October 1926.
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The 5-track EP was released by Eat Fear Records (US) and Haldern Pop (Europe). The EP featured stand-out track 'Over and Over,' described as "a flurry of strings and syncopation [that] flourish into a melting pot of harmonica, guitar, and horns while Ayvas' cool voice rattles off prophetic word."Blum, Jordan. "Emanuel and the Fear - Hands (EP)" Adequacy.
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The phrasing of "Satisfaction" is a good example of syncopation. It is derived here from its theoretic unsyncopated form, a repeated trochee (¯ ˘ ¯ ˘). A backbeat transformation is applied to "I" and "can't", and then a before-the-beat transformation is applied to "can't" and "no". 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & Repeated trochee: ¯ ˘ ¯ ˘ I can't get no – o Backbeat trans.
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The opening song is characterized by its use of descending glissandi, rising chords, and modal inflection. The second, "I mon waxe wod", correlates nature with madness. The third setting uses syncopation and imitation to celebrate the arrival of spring, while the fourth returns to sombre winter. The fifth and seventh songs are based on the Passion, and contrast with the "folksy" sixth setting.
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It has been suggested that by 1906 ragtime was already beginning to wane. After the publication of "Dill Pickles" there was a revival of interest in ragtime that extended its life by nearly ten more years. This piece of music made use of the “three over four” syncopation that was subsequently copied and used in dozens of rags by other composers.
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In turn, European- American minstrel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African-American cultures.
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The first two bars of the Transcendental Étude No. 9 Transcendental Étude No. 9 in A-flat, "Ricordanza" is the ninth of the twelve Transcendental Études by Franz Liszt. It has wild but gentle cadenzas and demands delicate finger work. There are some areas with syncopation similar to Frédéric Chopin's Étude Op. 10, No. 3. This is a good introduction to Liszt's pianistic style.
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Although the exact origins of jazz syncopation may never be known, there is evidence that the habanera/tresillo was there at its conception. Buddy Bolden, the first known jazz musician, is credited with creating the big four, a tresillo/habanera-based pattern. The big four was the first syncopated bass drum pattern to deviate from the standard on-the-beat march.Marsalis, Wynton (2000: DVD n.1). Jazz.
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Jazz is an American musical artform that originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.Alyn Shipton, A New History of Jazz, 2nd. ed., Continuum, 2007, pp.
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The ensemble recorded under several names, such as Cookie's Gingersnaps, Doc Cook and his 14 Doctors of Syncopation, and Doc Cook's Dreamland Orchestra. Among those who played in Cook's band were Freddie Keppard, Jimmie Noone, Johnny St. Cyr, Zutty Singleton, , Andrew Hilaire, and Luis Russell.[ Doc Cook] at Allmusic.com After 1927 Cook's orchestra played in Chicago at the Municipal Pier and the White City Ballroom.
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Sheet music cover for the Marquard and Seeley production. Seeley was born Minnie Guyer, in San Francisco. A top vaudeville headliner, she was known as the "Queen of Syncopation" and helped bring jazz and ragtime into the mainstream of American music. She introduced the Shelton Brooks classic "Some of These Days" in vaudeville in 1910, one year before Sophie Tucker recorded it in 1911.
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Celia Cruz Violinist Enrique Jorrín invented the chachachá in the early 1950s. This was developed from the danzón by increased syncopation. The chachachá became more popular outside Cuba when the big bands of Perez Prado and Tito Puente produced arrangements that attracted American and European audiences.RCA Victor LP 1459 Latin Satin: Perez Prado and his orchestra offered a number of Latin standards in chachachá style.
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Armstrong refused to perform alongside Goodman, which led essentially to the end of their friendship. Goodman's band appeared as a specialty act in the films The Big Broadcast of 1937; Hollywood Hotel (1938); Syncopation (1942); The Powers Girl (1942); Stage Door Canteen (1943); The Gang's All Here (1943); Sweet and Low-Down (1944), Goodman's only starring feature; Make Mine Music (1946) and A Song Is Born (1948).
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A rhythm of 126–128 bpm is sometimes used for advanced classes; Reebok defined 128 bpm as the "fastest permissible speed." First published in the June–July 1997 issue of Reebok Alliance Newsletter. The style of music should emphasize the beat, for instance a steady four on the floor rather than offbeat syncopation. Choreography requires that the music present a predictable 32-beat, eight-measure sequence.
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Zoro (born Daniel Donnelly, June 13, 1962) is an American drummer, mainly in the styles of rock, R&B;, and hip hop. Zoro is known as 'The Minister of Groove'. His outstanding feel, drive, syncopation and deep philosophies towards drumming have made him one of the most well-known and respected drummers in the world today. An interesting part of Zoro's playing is his foot technique.
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Its first subject has a quasi-orchestral opening, and its second subject in the dominant key (A major) is quieter. The development section is almost entirely based on the last four bars of the exposition. The second movement has an episodic structure A-B-A-B- A-coda. The second theme's melody is gently decorated with syncopation, accompanied by broken chords in the left hand.
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In 1929 they appeared in the movie Syncopation and on stage in The New Yorkers the following year. Their popularity increased in the 1930s with their presence in radio and movies. During the 1940s, they performed on Broadway and at the World's Fair and became the first band to broadcast its own TV show. From 1950–1970, they became a corporation that branched into workshops, real estate, and a magazine.
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Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie switched to piano exclusively at age 15. Greer and Basie played together in venues until Greer set out on his professional career. By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson's "Kings of Syncopation".Count Basie, 1985, p.
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With his own quartet he performed in Rome, at the Bologna Jazz Festival, the Jazz in Sardinia Festival and the La Spezia Festival. Davis was musical director of the Syncopation nightclub and performed in the film, The Man with Perfect Timing, with Abdullah Ibrahim. In 1984, he was named a BMI Jazz Pioneer. Davis played in the Apollo Theater Hall of Fame Band with Ray Charles, Joe Williams and Nancy Wilson.
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The Classical period music (1750–1800) associated with Sturm und Drang is predominantly written in a minor key to convey difficult or depressing sentiments. The principal themes tend to be angular, with large leaps and unpredictable melodic contours. Tempos and dynamics change rapidly and unpredictably in order to reflect strong changes of emotion. Pulsing rhythms and syncopation are common, as are racing lines in the soprano or alto registers.
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" In fact, the song was a march as opposed to a rag and barely contained "a hint of syncopation." Its sole notability "comprised quotes from a bugle call and Swanee River." Due to such criticisms, many were unimpressed by the tune. Undaunted by the indifferent response, Berlin submitted the song to Broadway theater producer Jesse L. Lasky who was preparing to debut an extravagant nightclub theater called "the Follies Bergère.
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The second movement is in E major and starts with the first violin playing a lyrical melody in time. The mood shifts with the move to a minor key and unexpected accents and silences. The viola and cello interject with an odd motif marked "queste note ben marcate". The Scherzo returns to B major and is a "tour de force of syncopation" and "an explosion of rhythmic eccentricity".
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Little Richard's Greatest Hits (with various titles and cover art) is an album of Little Richard songs re-recorded in 1964 and first released in US by Vee- Jay Records in January 1965. It features updated versions of twelve of his best-known songs originally recorded in the 1950s for Specialty Records. Some of these re-recordings use different musical arrangements, including unusual syncopation, tambourine and jazz horns.
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In dancing, the term syncopation has two meanings. The first one is similar to the musical terminology: stepping on an unstressed musical beat. The second one is making more (and/or different) steps than required by the standard description of a figure, to address more rhythmical nuances of the music. The latter usage is considered incorrect by many dance instructors, but it is still in circulation, a better term lacking.
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"Image of the Invisible" features Morse code, which spells out the album's title, done by Kensrue. Breckenridge said the song was written before they had the idea of adding Morse code. After looking into incorporating it with programming, they found out it had "a really cool syncopation with the beat" in the song. The track is led by gang vocal, in the style of Comeback Kid, which are heard throughout it.
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Aleut stress is indeterminate and often difficult to define. Stress varies based on the relation to the beginning or end of the word form, the length of the vowels, the sonority of the consonants, open- or closeness of the syllables, or the number of syllables in sentential rhythm and intonation. Stress affects the length of both vowels and consonants. Stress underlies the distinctive syncopation characteristics of Eastern Aleut.
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Rhythm and tenor guitars and a horn section are played in the next two minutes. During the bridge, Allen's drumming intensifies within the song's seven-minute mark, which leads to a fully developed Afrobeat section; Afrobeat is a type of loose funk music embellished with African syncopation, R&B-styled; horn instrumentation, and improvisatory solos.; . Confusions extended mid-tempo section has complex arrangements of danceable grooves, multiple solos, and Allen's polyrhythms.
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Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber. The complex syncopation of the drum tracks' breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.
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Chris "Daddy" Dave is a drummer, composer, and bandleader from Houston, Texas. He attended Howard University. He is an influential drummer in jazz, gospel, hip hop, noted for his extremely virtuosic sticking technique and ability to play with a high degree of syncopation. He performed professionally as a gospel drummer with the Winans, before being introduced to jazz audiences nationally through his association with the accomplished alto saxophonist Kenny Garrett.
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Jazz spans a period of over a hundred years, encompassing a very wide range of music, making it difficult to define. Jazz makes heavy use of improvisation, polyrhythms, syncopation and the swing note,Alyn Shipton, A New History of Jazz, 2nd edn., Continuum, 2007, pp. 4–5. as well as aspects of European harmony, American popular music,Bill Kirchner, The Oxford Companion to Jazz, Oxford University Press, 2005, Chapter Two.
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The song debuted during Kardon's DJ set at Electric Forest Festival and Rusko's set at Camp Bisco earlier in the year. Writing for Dancing Astronaut, Chris Stack noted the song's influence from earlier dubstep works, utilising Kardon's "stellar syncopation and sound design" alongside Rusko's "signature elated wobbles and groove." On August 14, American songwriter and electronic producer GRiZ released his second extended play Bangers[2].Zip via Deadbeats.
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Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Heavy metal subgenres variously emphasize, alter, or omit one or more of these attributes. The New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force."Pareles, Jon.
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Retrieved on February 27, 2007. Complementing the deep, aggressive vocal style are downtuned, heavily distorted guitars and extremely fast percussion, often with rapid double bass drumming and "wall of sound"–style blast beats. Frequent tempo and time signature changes and syncopation are also typical. Death metal, like thrash metal, generally rejects the theatrics of earlier metal styles, opting instead for an everyday look of ripped jeans and plain leather jackets.
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The other three compositions are a chanson in French, and two motets, evidently his only sacred compositions to survive.CMM, volume 94 Some of his madrigals are in the note nere (black note) style. This style of composition, which began with the work of Costanzo Festa around 1540, used shorter note values than were previously used in madrigal composition (hence "filled in" note-heads, i.e. black notes) and quick syllabic declamation, often with syncopation.
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With compositions like that, Blake pioneered what would eventually become known as the stride style by the end of the 1890s; stride later became more closely associated with New York City. With his own technique, characterized by playing the syncopation with his right hand and a steady beat with the left, and became one of the most successful ragtime performers of the East Coast, performing with prominent cabaret entertainers Mary Stafford and Madison Reed.
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He was idly playing a song called "Reuben" and suddenly realized that he was playing with three fingers, not two. "That excited me to no end", he later recalled, and said he ran through the house repeatedly yelling "I've got it". From there he devoted all his free time to perfecting his timing and to adding syncopation and variations to it. Controversy exists as to the actual origin of three-finger picking style.
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In some traditional songs, women sing one octave above the men, though they do not sing the first time the song is sung or the lead line at any time. Percussion among the Dakota use drums, sometimes with syncopation. In competition songs, beats start off as an irregular ruffle and are then followed by a swift regular beat. The Dakota Flag Song begins special events, such as powwows, and is not accompanied by a dance.
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2, _Haydn at Eszterhaza, 1766-1790_ The finale is a sonata form in D major, with both halves marked for repeat.Anthony Hodgson, _The Music of Haydn: The Symphonies_ (London: The Tantivy Press; Rutherford, Madison, Teaneck: Farleigh Dickinson University Press: 1976), p. 107 There is a lot of syncopation throughout the movement,Rosemary Hugues, _Haydn_ , The Master Musician Series, (London: J. M. Dent and Sons Ltd; New York: Farrar, Straus and Giroux, Inc., 1962, p.
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Constant Lambert The Rio Grande is a secular cantata by English composer Constant Lambert. Written in 1927, it achieved instant and long-lasting popularity on its appearance on the concert stage in 1929. It is an example of symphonic jazz, not unlike the style of George Gershwin's Rhapsody in Blue, although it is very much Lambert's individual conception. It combines jazzy syncopation with lithe Latin American dance rhythms that create an air of haunting nostalgia.
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Clayton in October 2018 Clayton's style of bass guitar playing is noted for what instructor Patrick Pfeiffer called "harmonic syncopation". With this technique, Clayton plays a consistent rhythm that stresses the eighth note of each bar, but he "anticipates the harmony by shifting the tonality" before the guitar chords do. This gives the music a feeling of "forward motion".Jobling (2014), p. 243 Initially, Clayton had no formal musical training;McCormick (2006), pp.
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One of the most rhythmically regular works by Stravinsky, the Tango consists of bars in four-bar phrase structures. However, this Tango does not follow the rhythmic logic used in Argentinian Tangos: syncopation is almost never used on the last beat of every bar, but it is used on the second instead. This provides the work with a distinctive atmosphere. Unlike some of Stravinsky's post-European works, the Tango is a tonal work.
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Joseph performed with Rodríguez at Carnegie Hall and recorded with him on Ansonia Records Arsenio Rodríguez y Su Conjunto, (Vol.2) and on Tico Records (Arsenio Dice... Arsenio Says). Candido, a Cuban Latin-Jazz percussionist, also coached and trained Joseph on Cuban bass rhythms and syncopation. Joseph recorded with Candido as vocalist, with Tito Puente conducting and playing vibes and timbales and he often substituted with Cachao on bass, (Tico Records, Candido's Latin McGuffas Dust).
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In "The Fragments of a Journey: The Drama in T. S. Eliot's Sweeney Agonistes," David Galef writes, "Through the play's Greek forms, religious symbolism, and jazz syncopation, critics have perceived Christian themes but more as motifs than as underlying structure: the horror of spiritual awareness amidst modern ignorance, and the trepidation of the soul at the brink of salvation." Galef, David. "The Fragments of a Journey: The Drama in T.S. Eliot's Sweeney Agonistes." English Studies.
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Jack A. Draper III, a professor of Portuguese at the University of Missouri, argues that Forró was used as a way to subdue feelings of nostalgia for a rural lifestyle. Choro is a very popular music instrumental style. Its origins are in 19th-century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity, improvisation, subtle modulations and full of syncopation and counterpoint.
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He was hanged for his crimes at the Nuremberg trials in 1946 Such views were readily picked up by the Nazis. Their criticisms have included "gratuitous use of syncopation" and "orgies of drums". More statements from the Nazis included such things as "artistic licentiousness" and "corruption seed in the musical expression" with "indecent dance forms". They went on to scrutinize all modern music of the 1930s as a "political weapon of the Jews".
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In 1926, he left the Savoy and opened his 'School of Syncopation' which specialised in teaching modern music techniques such as ragtime and stride piano. This in turn, led to the long running correspondence course on 'How to play like Billy Mayerl'. It was during this period that he wrote his most famous solo 'Marigold'. By the late 1930s his correspondence school is said to have had over 100 staff and 30,000 students.
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The Mind Garage traveled from Morgantown, WV to Bell Sound Studio on Long Island, New York to record Asphalt Mother and made only 1000 vinyl copies. Norris Lytton uses an 8 string Hagstrom bass guitar for a sharp, crisp sound. John Vaughan's Gibson Firebird employs a gutsy fuzz tone, and Jack Bond's Hammond B-3 and Leslie hold the composition together. Syncopation with the other instruments is achieved by Ted Smith's precision drumming.
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His bowing was described as smooth and heavily shuffled, having been perfected over many years of playing for square dances. As Paul Brown describes in the liner notes to Old Time, New Times, "It cries the blues, shouts a spiritual message, resounds with the celebration of a square dance or house party. It's full of syncopation and stretch, yet solidly down-to-earth." Flippen also had a unique two-finger banjo style.
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The songs were implicitly directed at female listeners, with the male subjects of songs being referred to as "he" instead of "you"; this was a change from previous female-written songs, which tended to be more gender neutral, and helped pave the way for the "confessional" songs of 70s singers like Joni Mitchell and Carole King. Musically, their works with Dixon were influenced by Brazilian baião and featured numerous instances of syncopation.
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Many of the rhythmic techniques used in rapping come from percussive techniques and many rappers compare themselves to percussionists.Edwards, "Gift of Gab" (2013). How to Rap 2, p. 3. How to Rap 2 identifies all the rhythmic techniques used in rapping such as triplets, flams, 16th notes, 32nd notes, syncopation, extensive use of rests, and rhythmic techniques unique to rapping such as West Coast "lazy tails", coined by Shock G.Edwards, "Gift of Gab" (2013).
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The nature of these rhythms became characteristic of early jazz phrasing, as his young students were fond of the rhythmic style they reflected. This training developed in many early jazz musicians a concept of syncopated phrasing—something that did not appear in the music of the march or even ragtime. But when added to ragtime, the associated style of syncopation was an early manifestation of what was eventually termed ‘swinging’ a piece of music.
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16 Mar. 2017. and is the only one to call for clarinet in B instead of in A. With a metronome marking of , the piece is characterized by much rapid syncopation and frequently shifting time signatures, made more complicated by the accents placed on certain notes. It maintains a near- constant dynamic until the very end, where the player backs down to a softer dynamic and ending with one final grace note.
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In the 1540s, after his initial assumed employment with Gardano and Scotto, Gero published two books of madrigals in the then-popular note nere (black note) style. In music of this style, black notes referred to quick note values (i.e. filled-in note heads, as in modern quarter-notes rather than half-notes); quick passages alternated with slower ones, and syncopation was common. Gero's music was widely distributed, being popular in Italy as well as Germany.
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Unfortunately, her works were not widely recorded, however Perry's Short Piece for Orchestra was performed and recorded by the New York Philharmonic in 1965 in Lincoln Center New York. This piece is representative of Perry's neoclassical compositional style. It has a number of rhythmic elements that use syncopation. The piece itself it somewhat frantic and wild, with the strings and brass sections switching between background and foreground in the composition, and rhythmic fills from the percussion.
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Arm and shoulder movements are also incorporated. Salsa's tempo ranges from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160–220 bpm. The basic Salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the syncopation inherent to Salsa dancing and ensures that it takes eight beats of music to loop back to a new sequence of steps.
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Played alongside the main guitar melody is a droning E power chord and a bassline consisting of the same chord sequence as the main riff. A heavy drum beat centered around fills and syncopation on the snare and tom-toms, a signature part of drummer Laurence "Loz" Colbert's style, is also a major force of the song's composition. After two verses and two choruses, the song closes with a nearly two-minute string-laden instrumental coda.
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Michael Ryan Flatley (born July 16, 1958) is an Irish-American dancer, choreographer, and musician. He became internationally known for Irish dance shows Riverdance, Lord of the Dance, Feet of Flames, and Celtic Tiger Live. Flatley's shows have played to more than 60 million people in 60 countries and have grossed more than $1 billion. Flatley is credited with reinventing traditional Irish dance by incorporating new rhythms, syncopation, and upper body movements, which were previously absent from the dance.
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The trio performed jazz music in ethnic Chinese costume and was noted for their "oriental syncopation". In 1921, he returned the Philippines to perform at the Manila Carnival and formed a classical jazz band. The genre was received well by the local entertainment industry which lead to the development of a performance art which would later be known as bodabil. Borromeo also featured in the 1922 Manila Carnival where his own entertainment troupe, Borromeo Lou & Co., Ltd.
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In the late 1950s Kimbrough began playing the guitar in his own style, using mid-tempo rhythms and a steady drone played with his thumb on the bass strings. This style would later be cited as a prime example of hill country blues. His music is characterized by the tricky syncopation between his droning bass strings and his midrange melodies. His soloing style has been described as modal and features languorous runs in the middle and upper registers.
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"Banquet" involves lead guitar and rhythm guitar playing in syncopation, while "Blue Light" has a slower tempo and a crescendo towards the end. During the studio sessions, the Bloc Party EP version of "She's Hearing Voices" was reworked to include reverberation and stereo separation of the instrumental parts. "This Modern Love" begins minimally with panned vocals before the rhythm section enters the mix and the song intensifies. The second half of Silent Alarm includes more studio effects.
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During this time he also began to appear in Hollywood musical films beginning with Shave It with Music in 1932 (with Dorothy). His other film roles during this decade included the roles of Baxter in Paree, Paree (1934) (with Dorothy Stone and Bob Hope), and Jonathan Pride in Dancing Pirate (1936). He also recorded music for the 1934 film Those Were the Days. Collins appeared in two films during the 1940s: Syncopation (1942) and Swing Hostess (1944).
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During the same era, he also played bass at Birdland, a club with regular jazz and Latin Jazz performances. As a bass player and vocalist, Joseph accompanied several bandleaders and musicians during the main era of Latin music and Latin Jazz, including Arsenio Rodríguez and Candido. Arsenio Rodríguez was a Cuban tres guitarist, regarded as the originator of a Latin style called the son montuno. He taught Joseph the techniques of Cuban bass rhythms and syncopation.
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More than 450 musical attributes are considered when selecting the next song. These 450 attributes are combined into larger groups called focus traits, of which there are 2,000. Examples of these are rhythm syncopation, key tonality, and vocal harmonies. Pandora is available in a free advertising-supported service, and a subscription-based tier known as "Pandora Plus" (rebranded from "Pandora One" in September 2015), which also features offline playback support using a prediction mechanism, and more skips and replays.
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A secco recitative prepares the aria with an accompaniment of the two oboe da caccia and violin I in syncopation, which even the tenor voice picks up in the first part. It is not a da capo aria, as only the ritornello repeats the beginning. The final words of the second recitative end like an arioso to stress "" (so that you can find mercy and aid). The soprano aria expresses like a prayer "" (Beloved God, have mercy).
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It was true that her singing had improved since she had starred in Gypsy on Broadway. She was "terrifically spunky" in "Come up to my place", but she struggled with the syncopation and breath control needed for "I can cook too". A more expert artist would have been able to convey its sexual innuendo more effectively. Vocal difficulties were also evident in the performances of Cleo Laine as the Nightclub Singer and Evelyn Lear as Madame Dilly.
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15 The pianist and academic Sally Pinkas writes that the work contains many hallmarks of Fauré's style, including "undulating rhythms, syncopation of the accompaniment against the melody and layered textures are already in evidence."Pinkas, p. 5 ;Nocturne No 2 in B major, Op. 33/2 (c.1880) The second nocturne opens with a bell-like passage, andantino espressivo, recalling – although Fauré said it was unconscious – the sound of distant bells that he heard frequently when a boy.
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8-10 in the Tibor Serly edition, where William Primrose included some bowing suggestions to emphasize the syncopation of the line.Tibor Serly, 1. Overall, there are a significant amount of surface level discrepancies such as bowings, fingerings and dynamics. However, some editions contain more changes than editor markings; in the Peter Bartók revision there are measures that are added, completely missing or with note changes, which can cause several discrepancies in the performance of the piece.
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" According to the Internet Movie database, IMDB, his last name was spelled as "Tettener" on the cast rosters of those films."Lost Horizon" (1937), "Syncopation" (1942), and "The Leopard Man" (1943). IMDb: retrieved online, April 2, 2018. A 1940 edition of The Pittsburgh Press revealed more about how he became involved in the motion picture industry:"Prayer By Ex-Priest Stirs Screen Extras: Invocation in Picture Brings Queries and Hollywood's Greatest Scholar Is Revealed As Former Theologian.
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Bluin' the Black Keys is a "piano novelty" composed by Arthur Schutt, an early jazz pianist and arranger. It was issued by Robbins-Engel in 1926, and was one of the few published novelties issued by Arthur Schutt. Featuring extreme chromaticism and unusual syncopation it is particularly difficult for a traditional ragtime arrangement. Though never recorded by its composer, it has been recorded in recent years by pianists such as Tony Caramia, George Hicks, and Brian Holland.
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When viewed in relation to Wells' idea of the melancholy, it may begin to appear these two songs are not a pair, as Leech-Wilkinson suggests, but rather that the sense of a need for resolution left behind at the end of "I Saw My Lady Weepe" could be intentional on the part of the composer, in order to leave the listener with a deeper sense of the emotions of the work. One of the other devices used by Dowland suggesting that the compositions are a pair is his use of syncopation at the end of the last phrase of "I Saw My Lady Weepe". The syncopation disrupts the sense of rhythm within the song, and the addition of what could be considered extra notes leading to a necessary textual repeat leaves the rhythm also wanting a metrical resolution; this resolution is given by the opening material of the following song. This melodic joining of the songs lends itself to the idea that "I Saw My Lady Weepe" may have been composed as an introduction to "Flow My Tears".
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These include son montuno, son oriental, son santiaguero and son habanero. Son singers are generally known as soneros, and the verb sonear describes not only their singing but also their vocal improvisation. The adjective soneado refers to songs and styles which incorporate the tempo and syncopation of the son, or even its montunos. Generally, there is an explicit difference between styles that incorporate elements of the son partially or totally, as evidenced by the distinction between bolero soneado and bolero-son.
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It was the first such institution in the United States and lasted just two years.H. Earle Johnson, Musical Interludes in Boston 1795-1830 (Columbia University Press, 1943) He also founded what quickly became the city's most prominent music publishing concern. In 1810 he organized the Boston Philharmonic Society to perform classical music in reaction to the non-classical syncopation of the fuguing tunes of William Billings. The society performed Beethoven’s Eroica Symphony marking its North American premiere on April 17th 1810.
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Candombe is performed by a group of drummers called a cuerda. The barrel-shaped drums, or tamboriles, have specific names according to their size and function: chico (small, high timbre, marks the tempo) repique (medium, syncopation and improvisation) piano (large, low timbre, melody). An even larger drum, called bajo or bombo (very large, very low timbre, accent on the fourth beat), was once common but is now declining in use. A cuerda at a minimum needs three drummers, one on each part.
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The typical bachata group consists of five instruments: requinto (lead guitar), segunda (rhythm guitar), bass guitar, bongos and güira. The segunda serves the purpose of adding syncopation to the music. Bachata groups mainly play a straightforward style of bolero (lead guitar instrumentation using arpeggiated repetitive chords is a distinctive characteristic of bachata), but when they change to merengue-based bachata, the percussionist will switch from bongo to a tambora drum. In the 1960s and 1970s, maracas were used instead of güira.
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Contemporary Chacarera music is distinguished by its unique hemiola syncopation. Melody lines tend to begin in duple meter (), and conclude in triple meter (). Accompaniment parts – including those on guitar, piano, bandoneón and drum – employ a constant compound meter of and , with accents on the second dotted quarter and the third quarter note, respectively (Abalos 1952). The downbeat is generally elided until cadences, a characteristic that is particularly salient in the case of the “Chacarera Trunca” style, which cadences on the third beat.
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Street Girl is a 1929 pre-Code musical film directed by Wesley Ruggles and starring Betty Compson, John Harron and Jack Oakie. It was adapted by Jane Murfin from "The Viennese Charmer", a short story by William Carey Wonderly. While it was the first film made by RKO Radio Pictures, its opening was delayed until after Syncopation, making it RKO's second release. It was very successful at the box office, accounting for almost half of RKO's profits for the entire year.
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Because of the tropical Caribbean undertones of the tamborera, this genre is musically different from its ancestral gaita de tambora or other gaitas. Tamborera music generally utilizes a 2/4 or 4/4 time signature, but this is prone to waver with great usage of syncopation. The four percussion instruments (tamboras, furro, charrasca, maracas) layer several different rhythmic patterns together at the same time, but it is always the tamboras that lay down the foundation of the tamborera by providing the main beat.
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His photograph and life story line the walls and menus inside. In 2008, he was memorialized by the band The Baseball Project on their album, Volume 1: Frozen Ropes and Dying Quails. The song, "The Death of Big Ed Delahanty", is a driving, punk-influenced ballad."Features of This Track: electric rock instrumentation punk influences a subtle use of vocal harmony mild rhythmic syncopation": Pandora The Hamburg Marines, a German Baseball Club, named their ballpark in the Hamburg quarter Billwerder after Ed Delahanty.
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From muhs-, 'great.' 'big,' 'sacred,' or 'great,' () , 'hill' (literally 'small mountain') and the locative suffix (). The syncopation of the diminutive () to was common in dialects and rapid or relaxed speech, thus the colonial form as opposed to careful Massachusett (). The Wampanoag tribes affiliated with the WLRP refer to the language as ('), possibly back-rendered into the colonial spelling as , 'Wampanoag language' to refer not only to the varieties used historically by the Wampanoag people, but also to the Massachusett language as a whole.
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Raymond Carlos Nakai is an American Indian of Navajo/Ute heritage. His Earth Spirit and Canyon Trilogy albums are the only Native American albums to be certified gold and platinum, respectively, by the RIAA. The music of the United States can be characterized by the use of syncopation and asymmetrical rhythms, long, irregular melodies, which are said to "reflect the wide open geography of (the American landscape)" and the "sense of personal freedom characteristic of American life".Ferris, p. 11.
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The middle section is filled by that sostenuto (in A flat major, rather foreign from the key of B major), but preceding this section, the music is hesitant and pauses. This B section then begins softly, not strong or explosive as is often the case in the middle section of a nocturne. On the contrary, it is slightly disturbed, inhibited, unease triggered by the play of syncopation of the left hand chords. Chopin ends the sostenuto with extreme harmonic subtlety and delicacy.
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Throughout its existence, many of the top performers and stars of their day made live appearances at the theater. One of its biggest draws was live jazz, which Balaban and Katz promoted as early as September 1922 in a special event they called "Syncopation Week". This proved so successful that jazz bands became a mainstay of the Chicago Theatre's programming through the 1920s and into the 1930s. In preparation for the 1933 World's Fair in Chicago, the Chicago Theatre was redecorated.
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"Syncopation" had a significantly Japanese feel to it, so it would present a more Japanese quality to the track listing. On the other hand, the song "From Dusk Till Dawn" contains elements of electronic dance music inspired by Skrillex, with inspiration from the bands Linkin Park and Bring Me the Horizon. This song seemed quite different from anything else in the band's repertoire, so the two track listings could tell two different stories starting from "Road of Resistance" and ending with "The One".
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Rio Rita (1929), first smash hit for RKO (then releasing films under the "Radio Pictures" banner) Whilst the main FBO studio in Hollywood underwent a technological refit, RKO began production at the small facility FBO shared with Pathé in New York City.Barrios (1995), p. 87; In charge of production was William LeBaron, who had held the same position at FBO. The new company's two initial releases were musicals: The melodramatic Syncopation, which actually completed shooting before FBO was reincorporated as RKO, premiered on March 29, 1929.
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The set opens with the quintessential waltz rhythm: the "oom-pah- pah" of the bass note played on beat one followed the chord on beats two and three. Brahms never strays too far from this familiar idiom, and the simple, easy to sing folk melodies allow his work to stay grounded as he adds more rhythmic complexity. Brahms is known for his unique manipulation of time, particularly his use of syncopation and hemiolas. This begins right away as a subtle hemiola creeps into the first stanza.
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Syncopation is a 1929 American musical film directed by Bert Glennon and starring Barbara Bennett, Bobby Watson, and Ian Hunter, although top billing went to Fred Waring and his Pennsylvanians. This was the second film produced by RKO Radio Pictures, but the first released by the studio, as the company's first produced film, Street Girl, was not released until August 1929. The film was made at the company's New York City studiosBarrios, p. 83 and is based on the novel Stepping High by Gene Markey.
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She continued writing and working on films through the end of the decade, working on scripts for films like The Joy Girl, Silk Legs, Syncopation, and The Rainbow Man. By 1932, she had returned to working as a newspaper columnist, writing about the state of the film industry for publications like The Los Angeles Times. She also wrote plays like Apples in Eden during the 1940s. During her later years, she was plagued by health troubles, including a broken hip sustained during a fall.
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They drove Rinker's Model T to Los Angeles where Rinker's sister, Mildred Bailey, a locally known jazz singer, was working. Shortly after their arrival, they landed a gig on the vaudeville circuit, as a vocal act. Crosby and Rinker began as a minor part of The Syncopation Idea, a short revue put out by the Fanchon and Marco agency, and it was there that they started to develop as entertainers. They had a lively and individual style and they were particularly popular with college students.
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The Dene and their direct language relations live in the Yukon, Northwest Territories, British Columbia, Alberta, Saskatchewan, Manitoba, as well as some parts of California, and through to the Apache and Navajo lands in the South Central United States. Their music includes modern rock and country songs, jigs and reels, work songs, community dances, numerous kinds of religious songs and lullabies. Dene folk music uses melodies similar to European scales with the coloration of blue notes. Syncopation is common, as are pulsating vocal styles.
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Much to her family's dismay, she developed a love for American jazz and musicians such as Duke Ellington, Fats Waller, Teddy Wilson, Mary Lou Williams, and many others. In 1938, Turner sought out Billy Mayerl at his School of Modern Syncopation to seek lessons, and was convinced to audition for his piano quartet. Despite her family's efforts to keep her at Guildhall, Turner left to join Billy Mayerl's Claviers, a four-piano vaudeville act. There, she elected to perform under the stage name of Marian Page.
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If the music swells and pauses briefly, then a dance step that rises and stretches is put into that place. If there is a little syncopation in another part of the music, then a quick step is inserted. The creation of a piece of choreography is like engineering a machine, with every gear and lever in just the right place to give smooth and flowing motion. The step-by-step instructions on how to dance this choreography are written out in what is called a cue sheet.
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He also began appearing in movies, including Syncopation (1929), the first film released by RKO Radio Pictures. Downey was also a songwriter whose most successful numbers include "All I Need Is Someone Like You", "California Skies", "In the Valley of the Roses", "Now You're in My Arms", "Sweeten Up Your Smile", "That's How I Spell Ireland", "There's Nothing New", and "Wabash Moon". He joined ASCAP in 1949. The famous tenor vocalist Bill Kenny idolized Downey, and it is believed that he was Kenny's biggest influence.
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The sisters were particularly influenced by the cornetist Emmett Louis Hardy, another friend of Clydie's, whose well-documented talent and skill helped shape the sisters' knowledge of jazz harmony, syncopation, and improvisation. Hardy and Clydie both died young and unrecorded, Hardy of tuberculosis at age 22 and Clydie of flu-related complications at 18. After becoming interested in jazz, Vet took up the banjo and Connie the saxophone. Martha continued playing the piano but focused on the rhythms and idioms of ragtime and hot jazz.
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His kit has a tambourine mounted on a cymbal stand, which he uses as an accent on certain beats for songs such as "With or Without You". Clayton in October 2018 Clayton's style of bass guitar playing is noted for what instructor Patrick Pfeiffer called "harmonic syncopation". With this technique, Clayton plays a consistent rhythm that stresses the eighth note of each bar, but he "anticipates the harmony by shifting the tonality" before the guitar chords do. This gives the music a feeling of "forward motion".
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The three other major technologies were the Warner Bros. Vitaphone sound-on-disc system, as well as two "variable-density" sound-on-film systems, Lee De Forest's Phonofilm, and Fox-Case's Movietone. When Joseph P. Kennedy and other investors merged Film Booking Offices of America (FBO) with the Keith-Albee-Orpheum theater chain and Radio Corporation of America, the resulting movie studio RKO Radio Pictures used RCA Photophone as their primary sound system. In May 1929, RKO released Syncopation, the first film made in RCA Photophone.
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Marshall had already taken some private lessons in classical music years before, and was versed with piano technique and a gift for syncopation. Joplin also helped get Marshall a job at the Maple Leaf Club during its single year of existence in 1899. In the club on October 1, 1899, Marshall got into a fight with a young man named Ernst Edwards over Edwards's girlfriend. They took their fight outside, Marshall pummeled Edwards with his cane, Edwards drew a gun, and Marshall ran away.
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The Arithmetica had a significant influence on later mathematicians, such as Pierre de Fermat, who arrived at his famous Last Theorem after trying to generalize a problem he had read in the Arithmetica (that of dividing a square into two squares). Diophantus also made significant advances in notation, the Arithmetica being the first instance of algebraic symbolism and syncopation. The Hagia Sophia was designed by mathematicians Anthemius of Tralles and Isidore of Miletus. Among the last great Greek mathematicians is Pappus of Alexandria (4th century AD).
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Pretties for You is the debut studio album by American rock band Alice Cooper, released on June 25, 1969 by Straight Records. At this time, the name "Alice Cooper" referred to the band and not its lead singer Vincent Furnier. The album has a psychedelic flavor to it; the group had yet to develop the more concise hard rock sound that they would become famous for. Most of the tracks feature unusual time signatures and arrangements, jarring syncopation, expressive dynamics, sound effects, and an eclectic range of music influences.
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They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. Stewart, Alexander (2000).
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Graphic interpretation of Burletta movement of Bartók's 6th String Quartet, by artist Joel Epstein Playing together constitutes a major challenge to chamber music players. Many compositions pose difficulties in coordination, with figures such as hemiolas, syncopation, fast unison passages and simultaneously sounded notes that form chords that are challenging to play in tune. But beyond the challenge of merely playing together from a rhythmic or intonation perspective is the greater challenge of sounding good together. To create a unified chamber music sound – to blend – the players must coordinate the details of their technique.
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Pandit Siyaram Tiwari (10 March 1919 – 1998) was an Indian classical singer and leading exponent of Dhrupad-genre of Hindustani classical music. He belonged to the Darbhanga gharana and was based in Patna. Though Darbhaga gharam is known for its laykari (the play on laya or tempo, using devices such as syncopation) techniques, he was the first exponent of the gharana to promote fast-paced laykari in Dhrupad, which developed in the second half of 20th-century. In 1971, he was awarded the Padma Shri by Government of India.
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Pain of Salvation is a Swedish progressive metal band led by Daniel Gildenlöw, who is the band's main songwriter, lyricist, guitarist, and vocalist. Pain of Salvation's sound is characterised by riff-oriented guitar work, a broad vocal range, oscillation between heavy and calm passages, complex vocal harmonies and the structures of their albums, syncopation, and polyrhythms. Thus far, every album released by the band has been a concept album. Lyrically, the band tends to address contemporary issues, such as sexuality, war, the environment, and the nature of God, humanity, and existence.
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At the beginning of the Late Iron Age (c. 500c. 793; in Norway known as the Merovingian Age), there were several changes in Nordic culture: for example the deterioration of the quality of works of art and syncopation of the spoken language. Burial customs in several regions were drastically simplified: stone coffins (stones placed together as a coffin protecting the body within a grave or a tumulus) were no longer used, and tumuli became smaller or were replaced by flat graves. Also grave goods appear to have been lesser in amount than before.
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Most songs present on Breakthrough "delves into the details of romance gone awry", featuring some songs about breaking up and why "lasting love seems so elusive". On the album's first song, "I Won't", which was considered "a crisp, breathy tune that emphasizes her nuanced style," Caillat refuses to take an ex's advice to forget him, singing: "I don't wanna pretend you're not my lover." The second track, "Begin Again", "pines for a second chance when Colbie realizes in retrospect how good a relationship actually was." The song's chorus introduces some vocal syncopation and vulnerability.
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It was about 2 > years later that, attracted by a boogie record, he went out and bought the > sheet music of Cow-Cow Boogie, upon which much time and energy was expended. > That was the beginning. Fortunately, his musical evolution was speedier than > most, and he soon began to dig the righteous stuff. Graduating through the > Fats Waller stage, and fortified by a few months syncopation lessons, (to > get that bass) he began to acquire a truer perspective of the real jazz, and > an increasing desire to play it.
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His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern's musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted.
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He would go on to work with Isham Jones, Red Norvo, Artie Shaw, Mal Hallett, and Waring's Pennsylvanians, and appear in the film Syncopation.[ All Music] He has been called "the greatest trombonist of the Big Band era"Des Moines Register and won the DownBeat Reader's Poll for trombone in 1940.Down Beat Readers' Poll He led his own band for a year in 1938–39, but it was a financial failure. He was drafted into the United States Navy in 1943, but also played as a studio musician the following year.
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Four motives (pitch sets) are utilized throughout the entire sonata, which also constitute the cyclical elements upon which the rhetoric of the piece is constructed. Each motive is given a particular name: "spring", "struggle", "consolation," and "faith". There are two elements in the primary thematic complex of the first movement: (1) a "swing" theme, characterized by syncopation and dotted rhythms and (2) a chord progression, juxtaposing minor and major seconds over an ostinato pattern in the left hand. The slower secondary theme introduces a melodic element associated with the ostinato element of the previous theme.
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The city of his birth, Chicago, and the city of much of his later life, New York, greatly influenced the composer. This is evident in the unpredictable rhythms and syncopation found in many of his works. Bazelon describes his music as having "the rebellious mutterings, cross-rhythms, and nervous tension and energy of the city" and "the alerations of mood, color and dramatic flair are a direct expression of the constant changes of pace, the rhythmic beat of life in the big metropolis". His music rarely has easily recognizable melodies.
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Even though her training was steeped in European tradition, Price's music consists of mostly the American idiom and reveals her Southern roots. She wrote with a vernacular style, using sounds and ideas that fit the reality of urban society. Being deeply religious, she frequently used the music of the African-American church as material for her arrangements. At the urging of her mentor George Whitefield Chadwick, Price began to incorporate elements of African-American spirituals, emphasizing the rhythm and syncopation of the spirituals rather than just using the text.
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The terms syncopation and syncopated step in dancing are used for two senses: #The first definition matches the musical term: stepping on (or otherwise emphasizing) an unstressed beat. For example, ballroom cha-cha-cha is a syncopated dance in this sense, because the basic step "breaks on two". An example for a syncopated dance figure is the lockstep in quickstep and waltz. When dancing to the disparate threads contained within the music, hands, torso, and head can independently move in relation to a thread, creating a fluidly syncopated performance of the music.
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During his time with Arcaño, Jorrín grew as a danzón composer, and by the time he left the band to join Orquesta América, in the late 1940s, he was a well-respected musician. Jorrín realized that mambo was very difficult to dance compared to other ballroom styles due to its high syncopation. Thus, he decided to alter its melody to make it more danceable and accessible. Jorrín applied this principles to "La engañadora", a song he composed in Havana sometime in 1951, the year it was first performed before an audience.
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Ježek's composition titled simply "Polonaisa" (1931; Ultraphon A10355) is a traditional Polonaise clothed in modern instrumentation, harmony and textures. It is as if Chopin and Gershwin had collaborated, the Polish dance rhythms mingling easily with hot syncopation. Ježek also turned the boys loose in records of his arrangements of well-known hot jazz standards, such as "Tiger Rag," "Dinah" and "Chinatown, My Chinatown." These recordings, very few of which could have survived the Nazi occupation and World War II, are almost completely unknown, at least in the United States.
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The "winner" of these mock battles was usually the individual who was able to choreograph and execute his or her burns creatively and even artistically to the rhythm and syncopation of the music. In this sophisticated and rhythmic form of Rock paper scissors, one would have to dance thoughtfully as to not step forward and inadvertently get one's head "sledge hammered". Although it is common knowledge that Uprocking is supposed to be a mock battle, those who are less professional sometimes get carried away with the dance which can result in real violence.
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Santa Ana Maya's population origins are pre-Hispanic. The ancient name of Santa Ana Maya: Mayao, is but a syncopation of Mayapequaro "Market Place" as ... It is quite possible then that Santa Ana Maya out instead of barter between Purépecha and Otomi. Santa Ana Maya's more important headings of capital are, remittances, farming, carpentry, and others with less importance. Its main attractions are the two fairs, one is celebrated on the month of February(9 to 19), and the other is on the month of July (17 to 26).
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Other tracks on the album helped establish what some labeled the "Virginia sound", a mixture of rock, jazz, and bluegrass. Bruce Hornsby and the Range went on to win the Grammy Award for Best New Artist in 1987, beating out Glass Tiger, Nu Shooz, Simply Red, and Timbuk3. Hornsby and the Range's sound was distinctive for its use of syncopation in Hornsby's piano solos, a bright piano sound and an extensive use of synthesizers as background for Hornsby's solos. John Molo's drumbeats were often looped throughout the recorded versions of songs.
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" Matt Cibula of PopMatters further explained the track, writing, "It starts out like an early Police single, with some straight-up Reggatta de Blanc syncopation and a shockingly good Sting vocal impression. But the chorus opens up to turn into something less Police-y and more, dare I say it, Bruno Mars-y." Kitty Empire of The Observer wrote that the song "channels the Police, but its 21st-century builds owe as much to rave-pop as they do to producer Mark Ronson. It's an ill-omened meeting that somehow gels.
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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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The dance is somewhat unusual rhythmically because of the syncopation it is associated with. Most dances are danced with either 4/4 or 3/4 music with counting to match, with either a triple or duple base depending on the dance. The New York hustle is generally danced to 4/4 music but counted as a six beat pattern. The most common New York hustle counting pattern is "&1 2 3 &1 2 3", meaning " L R LR L R" in the leader's pattern and the natural opposite of the follower's pattern.
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The first is the use of three voices or parts: the melodic line, the terce and the quint either through vocalization or instruments. The second is syncopation, where the music starts right after a beat while maintaining a consistent rhythm. The third is having the music played in different phrases, meaning that the entrance and exit of different musical themes are felt at different times throughout a song either through rhythm or instruments. The fourth is harmony, where a minor chord is used instead of a major chord.
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Van Ronk has been described as an irreverent and incomparable guitar artist and interpreter of black blues and folk, with an uncannily precise gift for impersonation. Joni Mitchell often said that his rendition of her song "Both Sides Now" (which he called "Clouds") was the finest ever. His guitar work, for which he credits Tom Paley as fingerpicking teacher, is noteworthy for both syncopation and precision. It shows similarities to Mississippi John Hurt's, but Van Ronk's main influence was the Reverend Gary Davis, who conceived the guitar as "a piano around his neck".
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The song, with four beats to a bar, departed from the customary waltz-rhythms of European influence and fitted the new American passion for modern dances such as the fox-trot. Kern was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes. The song is also remarkable in its use of 'everyday' language in a love song. Theatre historian John Kenrick writes that, until this point, the majority of love songs had relied on flowery vocabulary to express romantic sentiments.
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MCA billed Terry as "The Beautiful Blonde Siren of Syncopation", "The Jazz Princess", and "The Female Paul Whiteman". Bud Freeman was so enthusiastic about the band that he paid another musician to fill his seat in the Spike Hamilton Band so he could join the Playboys. The band was sent by MCA on a national tour that took them down the Eastern Seaboard and as far west as Kansas City. In 1929, MCA decided that Terry and her band would begin an international tour beginning in Berlin, Germany.
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"Yava!" contains elements of ska and is described as having "clean guitars and punky, almost staccato verses" ramping up into "driving metal", while "Amore" is reminiscent of their previous record with elements of melodic speed metal. “Awadama Fever”, like "Gimme Chocolate!!", follows genres of drum and bass and bubblegum pop. The Japanese exclusive track "Syncopation" has elements of visual kei, while the international exclusive track "From Dusk Till Dawn" has a speed contrasting "Meta Taro", being faster and featuring "an epic, film soundtrack-worthy feel" and falsetto vocals.
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"Video Classics: Eminence Front" . Wnew.com. Retrieved 29 October 2012. In an interview, Townshend explained: In the originally released version, there is a timing flaw or a syncopation in the first chorus, where Townshend sings "behind an eminence front" at the same time Daltrey sings "it's an eminence front," with Townshend one syllable behind. A more linear-sounding remixed version appears on the 1997 re-release of It's Hard (a live version, recorded on the band's final stop on their 1982 tour in Toronto, appears as a bonus track on the re-release).
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The metric and rhythmic relations between the three voices are quite complex. The triplum moves in tempus imperfectum cum prolatione maiore (6/8 time) throughout, no matter what the current meter of the tenor is; this results in complex patterns of overlap and syncopation. The motetus is even more complex, as it shifts between meters multiple times. This is indicated in the notation by frequent use of colaration, the use of note heads filled in in red to indicate that their temporal value is shortened to two thirds their nominal value.
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The anthem ends with a recapitulation of the exuberant beginning, with even more syncopation. The anthem was published by Oxford University Press in 1973. It was recorded several times, including a 1993 performance conducted by the composer in 1993 with his Cambridge Singers and the City of London Sinfonia, reissued in 2005 as part of an album Gloria : The sacred music of John Rutter, which also contains A Gaelic Blessing and "The Lord bless you and keep you", among many others. In 1997, Klaus Uwe Ludwig conducted the organ version with the Bach-Chor Wiesbaden.
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Verree Teasdale (March 15, 1903 - February 17, 1987) was an American actress born in Spokane, Washington. A second cousin of Edith Wharton, Teasdale attended Erasmus Hall High School in Brooklyn and trained as a stage actress at the New York School of Expression. She first appeared on Broadway in 1924 and performed there regularly until 1932. Frame from First Lady (1937) After co-starring in Somerset Maugham's play The Constant Wife with Ethel Barrymore in 1926–1927, she was offered a film contract, and her first film, Syncopation, was released in 1929.
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The song itself is known for its technical drumming involving syncopation and double bass, and virtuoso guitar soloing. The song topped the Billboard Hot 100 on September 29th, 1990, becoming the only single from the band to top the chart. This made the Nelson, in which Nelson's own Matthew and Gunnar Nelson are the sons of Ricky Nelson, the only family to have three generations of number one singles. The production on the single and its B-side, "Will You Love Me", was done by David Thoener and Marc Tanner.
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" The duo were new to this process, and they found it exhausting: Stump would write the song, scrap his lyrics, then attempt to fit Wentz's lyrics where his were. Stump was more concerned with the melodies, including the rhythm, syncopation and alliteration of words, while Wentz felt none of it mattered if the lyrics themselves lacked meaning. The result made the two musicians unhappy: "Man, did we fight about that," recalled Stump in 2013. "We fought for nine days straight all while not sleeping and smelling like shit.
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Komunyakaa at the 2006 Brooklyn Book Festival. Komunyakaa's collection Copacetic fuses jazz rhythms and syncopation with hip colloquialism and the unique, arresting poetic imagery that has since become his trademark. It also outlines an abiding desire in his work to articulate cultural truths that remain unspoken in daily discourse, in the hope that they will bring a sort of redemption: "How can love heal / the mouth shut this way... / Say something that resuscitates / us, behind the masks." Komunyakaa's I Apologize for the Eyes in My Head, published in 1986, won the San Francisco Poetry Prize.
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Edwards is also known for smaller freestanding works, the kinetic "Rockers" series. Works from the Rocker series include, Homage to Coco (1970), Good Friends in Chicago (1972), Avenue B (Rocker) (1975), Memories of Coco (1980), A Conversation with Norman Lewis (1980), among others. These moving sculptures are inspired by his memories, including one of him falling off his grandmother’s rocking chair and another as a homage to his friendships. Edwards used the term “syncopate” to describe the interaction while rocking, and the relationship of syncopation in African-American music.
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Musically, "Sunday Papers" originated when Jackson took a rhythm-and-blues riff and played it with reggae syncopation. Jackson then added the bass part. "Sunday Papers" features influence from reggae and ska. Tom Magginnis of AllMusic wrote in a review of the song, "Rhythmically, the track ventures from the mostly straight ahead rock found on the album, playing with Reggae-like counter accents within a new wave context, something that had come into vogue, particularly with the success of the Police, which effectively gives the tracks slow tempo a funky rock feel".
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In 2013, Spin rated him at No. 28 in their list of "The 100 Greatest Drummers of Alternative Music", writing: "Post-punk introduced a lot of amazing drummers, but none more influential than Budgie. With the Banshees, Budgie didn't just play rhythms—he played hooks and leads, brilliant parts that set the songs on fire. His tom- tom-intensive approach, [was] enlightened by his awareness of world music". Spin considered his "most booming moment" to be "Into the Light", from 1981's Juju, saying: "Budgie drums up a marvel of kinetic syncopation and invention".
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The arrangement requires temple blocks to be used as the sound of the clock that is heard throughout, except for a brief section in the middle. The piece is in time; the opening establishes a perfectly regular "tick-tock" accompaniment, beginning with a roll off the orchestra's staccato strike of an A chord, creating an expectation that it will continue. In the sixth measure, there is an eighth- note rest on the second beat, and two syncopated "ticks" are heard before the "clock" returns to its normal rhythm. As the piece proceeds, the "clock" continues to indulge in brief moments of syncopation.
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He focused on two factors: the tonal interplay of the chords and melody, and Perry's use of syncopation in her vocals. "This song is all about suspension—not in the voice-leading 4–3 sense, but in the emotional sense, which listeners often associate with 'exhilaration,' being on the road, being on a roller coaster, travel," he explained. That suspension is created "simply, by denying the listener any I chords," Pallett explains. After the first few lines, the B tonic chord that repeats throughout the song is offset by bass notes that give it a more dominant 7th feel.
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The theme of syntactic imitation is exemplified by each strophe in the poem, comparable and balanced in length with the others. Local details in texture and counterpoint often directly relate to the syntactic affect of the text, like the sudden expanse of homophonic harmonies during "solemni plena gaudio". Following this moment comes "coelestia, terrestria...," while the vocalists join in climbing melodic lines and dense syncopation of rhythms in an attempt to evoke Mary's filling of heaven and earth. While the regularity of imitation initially articulates the phrases, the middle verses exemplify the articulation from contrasts in texture.
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The name of the music originated in the 1920 and 1930s when the music was popular in Shanghai ballrooms in the form of "Spiritual Music" (精神音樂, Jīngshěn Yīnyuè; more properly translated as "spirited music"). As the performers were almost entirely from Guangdong, Shanghai people generalized the form of music as Guangdong music. Musically, compositions are based on tunes derived from Cantonese opera, together with new compositions from the 1920s onwards. Some pieces have influences from jazz and Western music, using syncopation and triple time, and incorporating instruments such as the saxophone, violin, guitar, piano, drum set, or xylophone.
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The 2000s saw a rise in Chicago juke or juke house, a faster variant of ghetto house which began forming in the late 1980s. Chicago juke songs are generally around 150–165 BPM with beat- skipping kick drums, pounding rapidly (and at times very sparsely) in syncopation with crackling snares, claps, and other sounds reminiscent of old drum machines. The production style is often markedly lo-fi, much like baile funk. Chicago Juke evolved to match the energy of footwork, a dance style born in the disparate ghettos, house parties and underground dance competitions of Chicago.
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Progressive metal (sometimes known shortened as prog metal) is a fusion music genre melding heavy metal and progressive rock, combining the loud "aggression" and amplified guitar-driven sound of the former with the more experimental, cerebral or "pseudo-classical" compositions of the latter. One of these experimental examples introduced to modern metal was djent. The music typically showcases the extreme technical proficiency of the performers and usually uses unorthodox harmonies as well as complex rhythms with frequent meter changes and intense syncopation. While the genre emerged towards the late-1980s, it was not until the 1990s that progressive metal achieved widespread success.
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Let's All Go to Mary's House is a 1925 popular song written by Con Conrad & Leo Wood which was recorded in the UK by the Savoy Orpheans and by Jay Whidden and His New Midnight Follies Orchestra. It's a jazz dance song which exhibits the standard style of that time, and includes a reference to the Charleston which was less than a year old at this song's publication. The arrangements of the recordings mentioned uses the syncopation and popular orchestration typical of the time. It often appears on compilations of 1920s-era music as any internet search will reveal.
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That way of singing also helped to mask the poor singing skills of the orchestra members. In 1948, Jorrín changed the style of a Mexican song by Guty Cárdenas, called "Nunca", composing a separate part for the trio or montuno of danzón; and in 1951 he composed a signature cha-cha-chá, "La engañadora". Jorrín noticed that most of the dancers had some trouble with highly syncopated rhythms and therefore he simplified the musical texture of his pieces, using as little syncopation as possible. The novel Cha cha chá style was born from melodies that were very easy to dance.
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Tiger JK has credited Jamaican singer Bob Marley for his musical style and numerous American rappers as well. He has demonstrated his Reggae style, gangsta rap style and West Coast hip hop in Drunken Tiger songs. He is praised for various aspects of his rapping technique by numerous other rappers – these techniques include: his varied and humorous subject matter, connecting with his audience, carrying a concept over a series of albums, unique rhyme schemes, his ability to bend words so that they rhyme, his use of syllabic rhymes fitting many rhymes in each bar, complex rhythms, use of melody, and syncopation.
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Showroom of Compassion is the sixth full-length studio album from the band Cake, released on January 11, 2011. Produced by the band, it was the band's first studio album to be independently released. The musical style of Showroom of Compassion is grounded in the band's unique style of alternative rock, combining droll, often esoteric lyrics rife with word play and syncopation, catchy distorted guitar riffs, complex bass patterns, Moog and prominent use of trumpet. Cake's former lead guitarist, Greg Brown, makes a guest appearance on the song, "Bound Away," his first appearance on a Cake album since 1996's Fashion Nugget.
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Vals dancing is characterized by absence of pauses; continual turns (giros) in both directions are not done as in ballroom quick waltz, although turns are sometimes introduced for variety. Milonga, in time, has a strongly accented beat, and sometimes an underlying "habanera" rhythm. Dancers avoid pausing, and often introduce double time steps (incorrectly called syncopation and more appropriately called traspiés) into their walks and turns. Milonga dancing uses the same basic elements as tango, with a strong emphasis on the rhythm, and figures that tend to be less complex than some danced in other varieties of tango.
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At that time, the guitar was largely regarded as a rhythm instrument in bluegrass, with only a few performers, such as Doc Watson, exploring its potential for soloing. White soon began to integrate elements of Watson's playing style, including the use of open strings and syncopation, into his own flatpicking guitar technique. His breathtaking speed and virtuosity on the instrument was largely responsible for making the guitar a lead instrument within bluegrass. The Kentucky Colonels became well known on the bluegrass circuit during this period and made many live appearances throughout California and the United States.
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Hendrik Marsman thought that on the whole Serenade was bad, full of trivial material, and written in a very pedestrian style—the best that could be said about a lot of the poems was that they were not awful. Particularly the fourth poem of the "For the children" cycle invoked his wrath; he thought it childish. Marsman also commented that he just could not get used to Slauerhoff's rhythm with its frequent syncopation, masculine rhymes, and monosyllabic phrases. The collection's bright side is a half a dozen poems which, according to Marsman, are Slauerhoff at his most powerful and personal.
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Drozd joined the Flaming Lips in 1991 as a drummer. While his style is deeply influenced by the big drum sounds of the 1970s, his time spent with his father's polka band helped him develop a sense of delicacy and syncopation, allowing for transitions through an articulate and dynamic touch. His thick grooves, with episodes of odd-time funk, are interspersed with straight ahead rock, mixing and jumping between various genres. In 2002, when drummer and percussionist Kliph Scurlock joined to the band, Drozd assumed the guitar, and he also plays keyboards, bass and drums, and sings.
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"Take It So Hard" is the first single from Keith Richards' first solo record, Talk Is Cheap. The long-time Rolling Stones guitarist recorded the record after bandmate Mick Jagger refused to tour in 1986 in support of the album Dirty Work. The second song of the eleven track record, it is a powerful example of vocal rock harmonies and rhythmic guitar, piano and percussion syncopation, with an overlay of vocal tracks that bury the lyrics within the push and pull of the music. It received heavy airplay on US rock radio, reaching #3 on Billboard's Mainstream Rock Tracks.
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The writing system had two historical phases: the archaic from the seventh to fifth centuries BC, which used the early Greek alphabet, and the later from the fourth to first centuries BC, which modified some of the letters. In the later period, syncopation increased. The alphabet went on in modified form after the language disappeared. In addition to being the source of the Roman alphabet, it has been suggested that it passed northward into Veneto and from there through Raetia into the Germanic lands, where it became the Elder Futhark alphabet, the oldest form of the runes.
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Carney recorded prolifically in the 1950s for Columbia Records. Two of his hits were "The Song of the Sewer", sung in character as Norton, and "'Twas the Night Before Christmas", a spoken-word record in which Carney, accompanied only by a jazz drummer, recited the famous Yuletide poem in syncopation. Some of Carney's recordings were comedy-novelty songs, but most were silly songs intended especially for children. He also narrated a version of The Wizard of Oz for Golden Records, with Mitch Miller and his chorus performing four of the songs from the 1939 film version.
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Ramón Ayala, pseudonym Ramón Gumercindo Cidade (Garupá, Misiones, March 10, 1937) is a singer, writer and Argentine poet.Biografía de Ramón Ayala Retrieved July 21, 2016 His music and prose, is strongly identified with the culture of their home province. Ayala decided to create its own musical style, which he called "Gualambao"; (which it is formed by two polka rhythms chained by a permanent syncopation, which gives a particular appearance).«El gualambao» Retrieved July 21, 2016 It is written in 12/8 (twelve eighths), meaning that each bar has 12 eighth notes spread out over 4 times.
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He was born as Herbert Richard Imber in Newark, New Jersey to the owner of a chain of meat stores. His parents gave him violin lessons, but when they found him performing in a seedy Newark dive, they took the instrument away from him and sent him to military school. In 1915, he stole away into New York City, where Sophie Tucker heard him play and hired him as a novelty act to play with her and the Five Kings of Syncopation where Himber was the highlight of the cabaret act. He worked his way through Vaudeville and down Tin Pan Alley.
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However, the production folded after one performance. It was a more concerted effort with film the next year back in Britain, again with Kellino. He then met the film director Alfred Hitchcock in 1927 and was featured in Hitchcock's The Ring (1927) and stayed for the director's Downhill (US: When Boys Leave Home, 1927) and Easy Virtue (1928), based on the Noël Coward play. By late 1928, he returned to Broadway for only a months run in the original comedy Olympia and stayed in America to work in Hollywood on Syncopation (1929) for RKO, his first sound film.
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Soviet postage stamp depicting traditional musical instruments of Moldova Moldovan music is closely related to that of its neighbour and cultural kin, Romania. Moldovan folk is known for swift, complex rhythms (a characteristic shared with many Eastern European traditions), musical improvisation, syncopation and much melodic ornamentation. Pop, hip hop, rock and other modern genres have their own fans in Moldova as well. Modern pop stars include O-Zone, a Romanian and Moldovan band whose "Dragostea din tei" was a major 2004 European hit, guitarist and songwriter Vladimir Pogrebniuc, Natalia Barbu, who is well known in Germany, Romania and Ukraine, and Nelly Ciobanu.
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"Spiders", like many of System of a Down's songs, is written in the key of C minor. The song relies heavily on the Cm, B♭, and E♭ chords, as well as Fm, Gm, A♭, B, and D♭. "Spiders" uses 4/4 time at a slow tempo, and employs drum-rolls and syncopation in the verses. The music can be described as haunting, ominous, dark, frightening, and depressing with its dark melody and echoing vocal overdubs. Serj Tankian's vocals, while low and melodic in the verses, become more energetic and dissonant in the refrains.
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The music for The Sharkfighters was composed by Jerome Moross in what was his last adventure film before becoming notable for scoring Westerns, described as "lively and unique." While it is not known if he traveled to Cuba with the company, the distinctly ethnic themes of the music appear to be inspired by the filming on location, using syncopation and percussion instruments highly suggestive of his orchestral composition Biguine.Whitmer (2012), p. 45 Thematically the score is characterized by an ostinato that stresses the second half of the second beat but nothing at all on the third beat.
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Freestyle features a dance tempo with stress on beats two and four; syncopation with a bassline, and a louder bass drum, lead synth, or percussion, and optional stabs of synthesized brass or orchestral samples; sixteenth-note hi-hats; a chord progression that lasts eight, 16, or 32 beats and is usually in a minor key; relatively complex, upbeat melodies with singing, verses, and a chorus; and themes about a city, broken heart, love, or dancing. Freestyle music in general is heavily influenced by electronic instrumentation upon an upbeat dance tempo. Often the Latin clave rhythm is present in many songs, such as Amoretto "Clave Rocks" by Rae Serrano aka Amoretto.
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It was created to exploit this adaptive principle in a modern electro-acoustic instrument. On these instruments one hand of the musician is not primarily in the bass nor the other primarily in the treble, but both hands can play freely across the entire tonal range of the instrument. Also the fingers of each hand can play separate independent rhythmic patterns and these can easily cross over each other from treble to bass and back, either smoothly or with varying amounts of syncopation. This can all be done within the same tight tonal range, without the left and right hand fingers ever physically encountering each other.
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This is an example of syncopation. The left hand leaps intervals of up to a tenth (octave plus a third) between the bass and the lowest note of the following chord (and back): this requires a very strong left hand 5th finger. Very often, the performer is required to hold the uppermost note of the right hand in legato while continuing to play the rest of the chord in that hand (and in the left hand) as staccato: this requires a very strong right hand 5th finger. The ending is marked Lento and pianissimo and the chords are all on beat in stark contrast with the rest of the piece.
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The film premiered at the 2012 Cannes Film Festival, and was released in the United States on December 21, 2012. On the Road gained mixed reviews and under-performed at the box office. Writing for Time magazine, Richard Corliss compared On the Road to "a diorama in a Kerouac museum ... [the film] lacks the novel’s exuberant syncopation", but praises Dunst's "excellent" performance. Chicago Tribune's Michael Phillips was more positive however, giving the film 3 out of 4 stars, praising the cinematic quality and actors for their "kind of fluid motion and freedom that periodically makes On the Road make sense and makes it feel alive".
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JPNSGRLS made their debut with The Sharkweek EP in June 2013, distributed by Light Organ Records. The EP was produced and engineered by Justin Brown, and co-produced by the band and Mike Paton.'Vancouver's Japanese Girls Prep 'The Sharkweek EP' for Light Organ', Exclaim.ca, April 15, 2013, Retrieved April 3, 2015 Reviewers noted the band's unique combination of syncopation, cohesion, modernity and experimentation with lyrical content, musicianship and influences.Japanese Girls The Sharkweek EP Review , Discorder Magazine, September 25, 2013, Retrieved April 3, 2015 The first single and video released from The Sharkweek EP was "Vancouver Grizzly", and the video for the follow-up single "Monarch Butterfly" debuted on Diffuser.
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Having a tempo of 57 beats per minute with syncopation, the song is written in the key of G minor and it would feature piano, string ensemble, drums and a synthesizer. The chorus uses the common chord progression of vi–IV–I–V, with Dion's vocal range spanning from note D3 to D5. It uses a Neapolitan chord of Ab major before a suspended chord at the end of the verses.I Surrender BY CELINE DION - DIGITAL SHEET MUSIC The song was described as a "bombastic, heart-pounding" ballad, which has become a popular song choice for contestants on reality television singing competitions like American Idol.
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It opened in New York and went on to become a hit in London. The best known of Kern's songs from this period is probably "They Didn't Believe Me", which was a hit in the New York version of the Paul Rubens and Sidney Jones musical, The Girl from Utah (1914), for which Kern wrote five songs. Kern's song, with four beats to a bar, departed from the customary waltz-rhythms of European influence and fitted the new American passion for modern dances such as the fox-trot. He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes.
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Upon release, New Musical Express described the song as a "blasting dance furore about having no ozone layer and seeing the air pollution from the power station, and so on..." Melody Maker noted the song's "hard-on, haughty syncopation" and added: "Blast may lack Trevor Horn's exotic depth and sweep but "Atomic City" has learned enough from Frankie to locate a hiatus of pastoral serenity in the midst of the swelter." Smash Hits felt the song was "overblown". Music & Media noted the song's "dark, funky backing", "dramatic orchestral breaks", "subdued but highly seductive chorus" and "excellent production". American newspaper The Age described the song as "very 'Frankie Goes to Hollywood'".
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Clayton's bass playing style is noted for its "harmonic syncopation", giving the music a driving rhythm. He is well known for his bass playing on songs such as "Gloria", "New Year's Day", "Bullet the Blue Sky", "With or Without You", "Mysterious Ways", "Vertigo", "Get on Your Boots", and "Magnificent". He has worked on several solo projects throughout his career, such as his work with fellow band member Larry Mullen Jr. on the 1996 version of the "Theme from Mission: Impossible". As a member of U2, Clayton has received 22 Grammy Awards and was inducted into the Rock and Roll Hall of Fame in 2005.
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The Cakewalk was a popular African-American dance which originated in plantation slave communities in nineteenth century America, and ultimately contributed to the musical style Ragtime. The simultaneous sounding of the two independent rhythms, he combination of the waltz in the bass and the syncopation of the main theme in the treble, is an example of a 4 against 3 polyrhythm. There are many subtle variations of this sequence which occur throughout the work. The left hand follows the standard approach of classical waltzes, with a bass note followed by two mid-range chords, and in addition there are some contrapuntal passagesScivales (2005), p. unknown.
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The form of Chôros No. 5 may be regarded as a simple ternary (ABA) form, or as a variation on it, in which the central, B section becomes two distinct sections (ABCA). In the latter case, the C section may be seen an expansion and development of section B , or as an entirely separate section . The outer, A section features a device called jeitinho brasileiro (Brazilian knack, or aptitude), involving a sensuous rhythmic delay. It is produced here by overlaying two different rhythmic patterns: a quadruple-meter accompaniment of syncopated chords, and a melody that enters in the third bar in triplets with syncopation independent of the accompaniment .
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In 1910, some 30 years after Faílde's early days, José Urfé added a montuno as a final part of his El Bombín de Barretto. This was a swinging section, consisting of a repeated musical phrase, which introduced something of the son into the danzón (a tactic which was to recur again). Because of the popularity of son in the 1920s and 1930s, Aniceto Díaz in Rompiendo la rutina in 1929 added a vocal part, thereby creating a new genre called the danzonete. Orquesta Romeu with singer Fernando Collazo, end-1920s Later development led to more syncopation, which eventually led to the danzón-chá, nuevo ritmo, cha-cha-chá, pachanga and mambo.
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DW drumset (2009) Baker preferred light, thin, fast- rebounding drum sticks (size 7A), usually held using a matched grip. Baker's playing made use of syncopation and ride cymbal patterns characteristic of bebop and other advanced forms of jazz, as well as the frequent application of African rhythms. In his early days, he developed what would later become the archetypal rock drum solo, with the best known example being the five-minute- long instrumental "Toad" from Cream's debut album Fresh Cream (1966). Baker was one of the first drummers to move his left foot between his left bass drum pedal and hi-hat pedal to create various combinations.
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Poster of Jonny spielt auf At the time of the Weimar Republic during 1927, Ernst Krenek's opera of Jonny spielt auf (Jonny Plays) contained jazz musical performances that caused protests among some right-wing ethnic-nationalist groups in Germany at the time. In 1930, the American musician Henry Cowell wrote in the Melos journal that jazz interpreted a mixture of African-American and Jewish elements, stating that: > The fundamentals of jazz are the syncopation and rhythmic accents of the > Negro. Their modernization is the work of New York Jews ... So jazz is Negro > music seen through the eyes of the Jews. Wilhelm Frick in his cell, November 1945.
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The Niyabinghi resistance inspired a number of Jamaican Rastafari, who incorporated what are known as niyabinghi chants (also binghi) into their celebrations (groundations). The rhythms of these chants were eventually an influence of popular ska, rocksteady and reggae music. Three kinds of drums (called "harps") are used in niyabinghi: bass, also known as the "Pope Smasher" or "Vatican Basher", reflecting a Rasta association between Catholicism and Babylon, the middle-pitched funde and akete. The akete (also known as the "repeater") plays an improvised syncopation, the funde plays a regular one-two beat and the bass drum strikes loudly on the first beat, and softly on the third beat (of four).
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The mambo first entered the United States around 1950, though ideas had been developing in Cuba and Mexico City for some time. The mambo as understood in the United States and Europe was considerably different from the danzón-mambo of Orestes "Cachao" Lopez, which was a danzon with extra syncopation in its final part. The mambo--which became internationally famous --was a big band product, the work of Perez Prado, who made some sensational recordings for RCA in their new recording studios in Mexico City in the late 1940s. About 27 of those recordings had Benny Moré as the singer, though the best sellers were mainly instrumentals.
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Alongside her own shows, Aggiss has written, choreographed and directed work for other companies. In 2008, she made Don't Put Your Daughter on the Stage for MapDance, the University of Chichester's student company. It featured a chorus line-up of dancers and paid 'homage to early twentieth-century dance in its styling and aesthetic...maintaining the syncopation of a classic showgirl line-up.'Lisa Wolfe, 'Supper Club: The Basement Brighton', Total Theatre, Autumn 2009, p55 Aggiss's second work for MapDance, Cut with the Kitchen Knife (2014), referenced the photomontages of Hannah Hoch, the stop frame animations of Edweard Muybridge, Gertrud Bodenwieser's Demon Machine, and the 1933 Hollywood musical Roman Scandals.
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The first song, "Anything Goes", was recorded by Bennett for his 1959 collaboration with Count Basie and his Orchestra, Strike Up the Band, and Gaga first came to know about it when she was 13 years old. Gaga thought that "Anything Goes" was a funny track with a "real sexy, powerful vibe to it, and it's just because we're having fun singing it." The version on Cheek to Cheek finds Bennett and Gaga swapping the lyrics between themselves, and was described by Bobby Olivier, from The Star- Ledger, as "smooth as silk". The syllables are pronounced strongly by Gaga in syncopation while her vibrato complemented Bennett's characteristic jazz vocals and swing.
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Joplin and his fellow ragtime composers rejuvenated American popular music, fostering an appreciation for African-American music among European-Americans by creating exhilarating and liberating dance tunes. "Its syncopation and rhythmic drive gave it a vitality and freshness attractive to young urban audiences indifferent to Victorian proprieties ... Joplin's ragtime expressed the intensity and energy of a modern urban America." Joshua Rifkin, a leading Joplin recording artist, wrote, "A pervasive sense of lyricism infuses his work, and even at his most high-spirited, he cannot repress a hint of melancholy or adversity ... He had little in common with the fast and flashy school of ragtime that grew up after him."Rifkin, Joshua.
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With the new hour-long show, Desi Arnaz wanted to keep the famous I Love Lucy theme composed by Eliot Daniel, but with some changes. The task of updating the theme fell to music arranger Frank Comstock, who kept most of the theme (like the harp "hits") similar, but added were more syncopation and flourishes, as well as a few "punch" notes. Even though Wilbur Hatch was still musical conductor, studio musicians were employed to record the theme, as the Desi Arnaz Orchestra had been disbanded. Most, if not all, end credit music themes on each episode have been edited for time in the syndicated versions of the series.
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The güira is brushed steadily on the downbeat with a "and-a" thrown in at certain points, or played in more complex patterns that generally mark the time. Caballito rhythm, or a quarter and two eighths, is also common. The double headed drum is played on one side with a stick syncopation and on the other side with the palm of the hand. The traditional (some say fundamental) signature rhythm figure of merengue is the quintillo, which is essentially a syncopated motif whose pattern is broken by five successive drumhead hits at the transition between every second and third beat, alternating between the hand and the stick.
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The Super Mario Bros. theme, officially known as the "Ground Theme" or "Overworld Theme", is a musical theme originally heard in the first stage of the 1985 Nintendo Entertainment System video game Super Mario Bros.. It was one of six themes composed for the game by Nintendo sound designer Koji Kondo, who found it to be the most difficult track to compose for it. The theme is set in the key of C major and features a swung rhythm with prominent use of syncopation. In later installments with more powerful sound hardware, it is often scored as a calypso song led by steel drums.
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Bossa nova () is a style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by "different beat" that altered the harmonies with the introduction of unconventional chords and an innovative syncopation of traditional samba from a single rhythmic division. Therefore, the "bossa nova beat", then, is characteristic of a samba style and not of an autonomous genre. According to the Brazilian journalist Ruy Castro, the bossa beat – which would be created by the drummer Milton Banana – was "an extreme simplification of the beat of the samba school", as if all instruments had been removed and only the tamborim had been preserved.
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"Step one, pour yourself a drink", Mark Collin, The Guardian, 27 June 2008 When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back".
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He met pianist Lynne Arriale met at a jam session soon after she moved to New York in 1991. Davis is a faculty member of the Jamey Aebersold Jazz Summer Schools in the US and the Jazzwise Summer Schools in the UK. He lists Ted Reed's Syncopation and G.L. Stone's Stick Control as useful books for drummers. He has played on many Aebersold play-along records and has written transcription books of his playing on these records. He has taught at Triton College in Chicago, Webster University in St. Louis, Washington University in St. Louis, Berlin Conservatory of Music, Indiana University, and the University of South Florida.
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Musically, "Psycho" was described as an "up-tempo" urban song, while being characterized by Tamar Herman as an R&B-pop; track with future bass, "grandiose operatic" instrumental intro with "dramatic" pizzicato strings, "classical" chords and "trap beats, squelching synths" elements, which made the song the group's seventh single to fall under the "Velvet" concept. According to Scott, the chorus contains "the syncopation" of hi-hats, which is combined with the drum line to maintain the song's pace. It was composed in the key of Eb major with a tempo of 140 beat-per-minute. The group's vocal range spanned about 2 octaves, from the low note of G3 to the high-note of G5.
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Still, however, the use of horns and drums was discouraged, leading to the primacy of vocal music; at the same time, new Protestant churches from North American moved into the island, bringing with them American parlor music, cowboy songs and revivalist hymns. Following emancipation, ensembles consisting of snare and bass drums, flute and triangle emerged; these were called tuk bands, and may have been based on British fife- and-drum corps. They used African polyrhythms and syncopation, and accompanied the community dance troupe Landship, which simulated the movement of ships at sea through dance, as well as at various kinds of celebrations and festivals. In 1889, the Royal Barbados Police Band formed.
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Lauro was particularly attracted to the myriad colonial parlour valses venezolanos (Venezuelan waltzes) created in the previous century by accomplished national composers such as Ramón Delgado Palacios (1867–1902). Unfailingly melodic and characterized by a distinctive syncopation (created by a hemiola in which two measures of 3/4 become a single measure of 3/2), such music was precisely the sort of folkloric raw material which Smetana, Bartók or Granados had elevated to the category of national art in Europe. A concert whose programme consisted entirely of such valses venezolanos (Venezuelan waltzes) by the distinguished Venezuelan pianist Evencio Castellanos (1914–1984) convinced Lauro that the guitar, too, should have comparable pieces in its repertory.
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The Cumana Song (La Cumana) is a mambo tune written by jazz pianist Barclay Allen, together with Harold Spina and Roc Hillman and released by Barclay Allen's Rhythm Four on Capitol 15107 in 1947. Its signature riff is a fast moody change between two chords (chiefly F minor 6, or its tritone substitution, and C minor seventh) with some syncopation added. This tune, in its original context, is in the key of E Flat major with some parts sounding like they come from the relative key of C minor. The suggested tempo is 180 beats per minute, and this song in its original context takes about three and a half minutes to play, taking all repeats.
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Seven of the smaller-sized gongs produce a running melody with the eighth, largest gong playing syncopation with the other gongs to produce a particular rhythm. The Manabo also have an agung ensemble similar to the tagunggo, called a tagungguan. The Kadazan-Dusun, located on the western coast of Sabah, refer to their agung ensemble as a tawag or bandil, which consists of six to seven large gongs in shoreline groups and 7–8 large gongs for those in interior valleys. In southwestern Sarawak, Bidayuh agung ensembles consist of nine large gongs divided into four groups (taway, puum, bandil, and sanang), while among the Iban of Sawarak, Brunei, Kalimantan, agung ensembles are smaller in comparison.
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The basic dance sequence is performed in a full 8-count moving within a square, consisting of three steps and then a tap or various forms of step syncopations (such as the "double step"). The tap is done on the opposite foot of the last step, while the next step is taken on the same foot as the tap. The dance direction may change after the tap or fourth step. Bachata can be danced on any beat of the musical phrase as long as the basic dance sequence (three steps and then a tap \ syncopation) is maintained (for example, one may start on the 1st beat of the musical phrase, with the tap landing on the 4th beat).
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The cantata is in ten distinct sections, played continuously. After a brief, recited introduction, the chorus and baritone sing of their homeland Zion, in an emotional setting of Psalm 137 (By the waters of Babylon, there we sat down: yea, we wept), and angrily express their bitterness toward their captors. The narrative then begins, and in a prolonged sequence we hear their horror, and then outrage, at the profanities of the king, followed by an exuberant march section depicting the king and his court praising their gods. The section is framed by a descending figure of four notes that, through repetition, passes down through the orchestra, immediately establishing a jazz influence with a flattened first note and marked syncopation.
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His first recordings were made soon thereafter, especially with Spike Jones and his City Slickers. In the 1940s and 1950s, Wrightsman played with various big bands and ensembles (mainly Traditional Jazz), including Artie Shaw, Wingy Manone, Eddie Miller, Rudy Vallee, Nappy Lamare, Johnny Mercer, Harry James, Bob Crosby (1950–51), Matty Matlock, Pete Fountain, The Rampart Street Paraders, Ray Bauduc, Wild Bill Davison, and Bob Scobey. He also appeared on the soundtrack of Blues in the Night (1941), in which he stood in for Richard Whorf on piano, Syncopation (1942), the Jack Webb film Pete Kelly's Blues (1955), and the Red Nichols biopic The Five Pennies (1959). In the feature film The Crimson Canary, Wrightsman appeared as a pianist.
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Techapella is an annual showcase of a cappella music hosted by members of tech companies in Silicon Valley, California. The event was started in 2013 by Laolee Xiong and Aaron Roan, founders of Facebook's The Vocal Network and Google's Googapella, respectively. The event has been emceed by a cappella personality and Sing-Off producer Deke Sharon, and is used as a fundraiser for local charities Music for Minors and the San Francisco Conservatory of Music. Participating groups have included Googapella and Alphabeat (made up of Google employees), The Vocal Network (Facebook), The Pintunes (Pinterest), InTune (LinkedIn), Songbirds (Twitter), The Square Registers (Square), Syncopation (Dropbox), Airbnbeats (Airbnb), The Keynotes (Apple), The Chromotones (23andMe), and Scalesforce (Salesforce).
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As Hamm explains: > There is no trace of syncopation beyond a single 3+3+2 pattern in the > chorus, no minor tonality, no reference to one ethnic group or another. The > most arresting moment, the cross-relation at the beginning of the verse, has > no specific ethnic (or any other) connotation. "That Mysterious Rag" is the first instance of a change that Berlin employs consistently from 1912 onward: a generic style lacking in specific ethnic connotations whose audience is no longer solely the working class, but whose reach includes patrons of the legitimate theater. Berlin continued to use rag and ragtime in song titles during the period when the terms were nearly synonymous with popular music.
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Music critic Ian MacDonald describes the chorus as a section that "drop[s] beats left, right, and centre" in contrast to the "barrelhouse 4/4" of the verse. In his analysis of the song, Pollack says that while he had long considered the chorus's metre to vary in this way, the effect is more one of syncopation within 4/4, rather than formal changes in time signature. Within the three two-bar pairings, he continues, this is achieved through rhythmic accents falling on beats 1 and 4 of the first bar and beat 3 of the second bar. Like the Revolver track "She Said She Said", the song closes with an imitative canon in the voices.
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In August 1991 the group toured Europe and Canada. Kaarin Davies-Cassin of Green Left Weekly described their sound, which "blends syncopation and counterpoint harmony, weaving traditional Australian rhythms and melodic form with traditional and Western instruments." In October 1992 Mixed Relations issued their debut extended play, Take It or Leave It, on Red Eye Records. Alongside Willoughby the group included Murray Cook on keyboards and bass guitar (ex-Warumpi Band, Happening Thang), Leroy Cummings on guitar, Alvin Duffin on drums and percussion (ex-Mantaka), Brenda Gifford on saxophone, piano and backing vocals, Alice Haines on vocals and percussion, Vanessa Lucas on bass guitar, violin and backing vocals (ex-Tall Tales & True).
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Ben Zimmer notes that the syncopation of "goo-goo-ga-joob" in John Lennon's song I Am the Walrus from the Beatles' album Magical Mystery Tour and "coo-coo-ca- choo" from Simon & Garfunkel's song "Mrs. Robinson" on their album Bookends is the same as Boop's "boop-boop-a-doop" or "boop-boop-be-doop". The same pattern was used in the sung "la-da-di-dah" introduction to the "Laugh-In Looks at the News" segments on Rowan & Martin's Laugh-In. Zimmer, Ben (November 2011) "The Delights of Parsing the Beatles' Most Nonsensical Song" The Atlantic Attempts to compromise her virginity were reflected in Chess-Nuts (1932) and most importantly in Boop-Oop-a-Doop (1932).
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William Joseph Mayerl (31 May 1902 – 25 March 1959) was an English pianist and composer who built a career in music hall and musical theatre and became an acknowledged master of light music. Best known for his syncopated novelty piano solos, he wrote over 300 piano pieces, many of which were named after flowers and trees, including his best-known composition, Marigold (1927). He also ran the successful School of Syncopation for whose members he published hundreds of his own arrangements of popular songs. He also composed works for piano and orchestra, often in suites with evocative names such as the 'Aquarium Suite' (1937), comprising "Willow Moss", "Moorish Idol", "Fantail", and "Whirligig".
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The writer Ronald Bush notes that Eliot's early poems like "The Love Song of J. Alfred Prufrock", "Portrait of a Lady", "La Figlia Che Piange", "Preludes", and "Rhapsody on a Windy Night" had "[an] effect [that] was both unique and compelling, and their assurance staggered [Eliot's] contemporaries who were privileged to read them in manuscript. [Conrad] Aiken, for example, marveled at 'how sharp and complete and sui generis the whole thing was, from the outset. The wholeness is there, from the very beginning.'" The initial critical response to Eliot's The Waste Land was mixed. Bush notes that the piece was at first correctly perceived as a work of jazz-like syncopation—and, like 1920s jazz, essentially iconoclastic.
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Enríquez's early works, starting with the Suite for Violin and Piano in 1949 through the First String Quartet (1959) were in the nationalist neoclassism widespread in Mexico at that time, featuring folk-like tunes in dissonant harmonies and with propulsive rhythms including frequent syncopation and hemiola. In the early 1960s he adopted a loose form of twelve-tone technique, combined with minimalist designs. Characteristic examples are his Second Symphony (1962) and Pentamúsica for wind quintet (1963). In later works, such as Transición for orchestra (1965), the Second String Quartet and Ambivalencia for violin and cello (both 1967), and Díptico I for flute and piano (1969) he began to experiment with aleatory procedures and graphic notation.
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Following the overture is a strictly formal double fugue in the key of B major that follows all the rules of a Baroque fugue: an exposition and three variations, showcasing different contrapuntal devices. But this is anything but a tame Baroque fugue: it is violent and dissonant, pitting awkward leaps of the second subject in iambic rhythm against the main subject in syncopation, at a constant dynamic that never falls below forte. The resulting angular rhythmic confusion and displaced dissonances last almost five minutes. First, Beethoven restates the main subject, broken up by rests between each note: Syncopated statement of motif Then begins a double fugue, two subjects, played one against the other.
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Comparatively few of the album's songs can technically be considered discochiefly the title track, which features the four-on-the-floor beat, chicken-scratch guitar, syncopated bass and off-beat, lift-and-close hi-hat that were hallmarks of the genre. Other songs have the Latin syncopation and production sheen associated with the style, but rely on rock arrangements and guitar-based instrumentation, lacking the synthesizers and horn sections favored by disco. The larger stylistic change from the previous studio album was the move toward polyrhythmic backing and steelpan and cross-beat drumming, centered on Hart, and the increase in soft rock or ballad tracks. Donna Godchaux called the light and bouncy tone of the album "almost tongue-in- cheek".
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Poster for interpretation of bamboula by the Franco- Louisianian Louis Moreau Gottschalk. Originating in Africa, the bamboula form appears in a Haitian song in 1757 and bamboula became a dance syncopation performed to the rhythm of the drum during festivals and ceremonies in Haiti (then Saint-Domingue). It was then exported to the United States (notably Mobile, Alabama, and the Virgin Islands) through Louisiana, by the Africans that were deported to New Orleans during the 18th century with the arrival of the displaced French settlers of the island of San Domingo especially after the Haitian Revolution. The slaves congregated on the Congo Square to the edge of the area of the French Quarter of New Orleans to dance the bamboula.
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Many of these figures may be further embellished by underarm turns, especially when changing from one dance position to another. Variations upon this basic rhythm may employ four quick steps (quick, quick, quick, quick) as in the grapevine and the second measure of the weave, or syncopation (slow, quick-and-quick quick) as in the chassé. Many Continuity-Style Foxtrot figures are similar to those of American Continuity Style Waltz, with the rhythm modified by extending the first step of each figure to occupy two counts. Some, like the open twinkles, are direct developments of the corresponding Social Foxtrot figures in which the footwork has been modified by passing the feet at the end of the figure instead of closing the feet; others are entirely different.
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However, in performance, the theme and first variation sound much slower, with wide spaces between the chords, and the second variation (and much more so, the third variation) faster, because of the shorter note values that create a doubling (and redoubling) of the effective compound time groupings. The third variation has a powerful, stomping, dance-like character with falling swung sixty-fourth notes, and heavy syncopation. Mitsuko Uchida has remarked that this variation, to a modern ear, has a striking resemblance to cheerful boogie-woogie, and the closeness of it to jazz and ragtime, which were still over 70 years into the future at the time, has often been pointed out. Jeremy Denk, for example, describes the second movement using terms like "proto-jazz" and "boogie-woogie".
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Paul Barr from Reading called the album "a great follow up" to their debut saying "Here are new songs with added stylistic variations and instrumental colour but retaining that familiar Teskey Brothers sound" believing producer Paul Butler "has helped push the band to new heights". Dan Condon from Double J said "All the songs here are solid, there's nothing offensive and there's nothing ground breaking. The Teskeys know where their strengths lie, they know what they like, and they stick to it." Zoë Radas from Stack Magazine said "Its sweet '60s syncopation, dreamy rock 'n' roll, romantic Van Morrison-esque rhythm and blues, and tender neo-soul compositions elevate the boys' former folk leanings into absolutely gorgeous new territory." adding "It's full of stand-outs".
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The rhythm is especially interesting, with its soft syncopation (related to a binary rhythm in a ternary bar): repeated accompaniment from the scherzo appears in the second part and the return of the grupetto relaunches the movement with its dynamic and orchestral violence. A tam-tam hit follows the coda, at the end of which the grupetto, played by the strings in a slower time, is repeated with a prophetic insistence, strengthened by the brass and percussion instruments. Despite the uneven quality of the composition itself, there is no doubt that the First Symphony is powerful and dramatic. It is influenced by Tchaikovsky's last symphonies, although this influence can only be seen in the feeling of anguish against relentless fate.
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This retransition continues to alternate between the tonic and subdominant harmonies but also contains many added tones. These sixteenth-note rhythms and chords are fairly syncopated, but Barber includes accent marks over the certain beats to further enhance the syncopation. Even though starting in measure 53 there is a diminuendo included, the motion and intensity is still preserved through the stringendo a poco a poco. After ending the retransition section from B1 to A1 on a middle C, Barber alters the original motive 1 again. The beginning of the A1 section alters motive 1 with “appoggiaturas built on chromatic quartal harmonies.”Carter, p. 48 Sifferman hears these chromatic grace notes as imitations of “the sound achieved through breathing alternately in and out on a harmonica.”Sifferman, p.
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Although he made his living from road construction (operating a motor grader for the North Carolina Highway Department until his retirement in 1966), Jarrell was an influential musician, eventually attracting attention from Washington D.C. when he received the National Endowment for the Arts' National Heritage Fellowship in 1982. That year's fellowships were the first bestowed by the NEA, and are considered the United States government's highest honor in the folk and traditional arts. Jarrell's style was notable for its expressive use of syncopation and sliding ornamentation, and he was adept at singing while playing. His formidable technique and rough timbre continue to influence modern aficionados of Appalachian old-time music and in particular the Round Peak style of clawhammer banjo.
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As well as bringing harmonic and rhythmic features from western and sub-Saharan Africa to meet European musical instrumentation, it was the historical condition of chattel slavery forced upon black Americans within American society that contributed the conditions which would define their music. Many of the characteristic musical forms that define African-American music have historical precedents. These earlier forms include: field hollers, beat boxing, work song , spoken word, rapping, scatting, call and response, vocality (or special vocal effect: guttural effects, interpolated vocality, falsetto, melisma, vocal rhythmization), improvisation, blue notes, polyrhythms (syncopation, concrescence, tension, improvisation, percussion, swung note), texture (antiphony, homophony, polyphony, heterophony) and harmony (vernacular progressions; complex, multi-part harmony, as in spirituals, Doo Wop, and barbershop music).Stewart 1998, pp. 5–15.
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See the related concept ear candy in this list. sweet spot : In live sound or recordings in which a microphone is placed in front of an instrument or a guitar amplifier, the "sweet spot" is a placement or position of a microphone which yields the most pleasing sound; in the context of listening to a mix in a studio through monitor speakers, the "sweet spot" is a distance away from the speakers that the engineer believes to produce the most natural sound. syncopation : A disturbance or interruption of the regular flow of rhythm often consisting of playing off of the main beat (i.e. playing on the "and" of every beat in a measure instead of on the beat) or emphasizing a beat other than the main beat.
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Timbaland, a popular contemporary R&B; producer in America, was the major innovator behind contemporary R&B; at the time, from which UK rave culture borrowed heavily. The use of rhythmic patterns as melodic hooks is shared by both contemporary R&B; and jungle, making it very appealing to the significantly ex-junglist UK garage scene. This style of Timbaland's R&B; possesses a breakbeat aesthetic: breakup of the flow of four-to-the-floor rhythm, hesitations into the groove, and teasing and tantalizing gaps. As much as these R&B; influences can be heard in early UK garage, the genre offered more complex drum beats, with heavy syncopation (swing) and a more energetic feel due to a higher tempo (normally between 130 and 138 BPM).
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27 By dividing the orchestra into two equal and identical sections Tippett is able to play one off against the other, using syncopation and imitation to add further to the rhythmic vitality and propulsion of the music. This antiphonal effect is similar to that found in Renaissance and early Baroque choral music by composers such as Monteverdi and Gabrieli. The first movement (Allegro con brio) is in sonata form and contrasts a vigorous, driving theme in octaves with a more delicate, lightly scored idea on violins and cellos. The slow movement (Adagio cantabile) opens with one of Tippett's most affecting and heartfelt melodies for low solo violin, revealing the composer's deep love of Blues, especially the singing of Bessie Smith.
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All songs written by Keith Diamond and Billy Ocean, except where noted. # "Caribbean Queen (No More Love on the Run)" - 5:04 # "Mystery Lady" (Diamond, Ocean, James Woodley) - 5:02 # "Syncopation" (Diamond, Ocean, Jolyon Skinner) - 5:20 # "The Long and Winding Road" (John Lennon, Paul McCartney) - 4:40 # "Loverboy" (Diamond, Ocean, Robert Lange) - 5:16 # "Lucky Man" - 4:21 # "Dancefloor" (Diamond, Ocean, Barry J. Eastmond) - 4:14 # "If I Should Lose You" - 3:59 # "Suddenly" - 3:53Discogs album info On the European release, the first track was "European Queen (No More Love on the Run)" (4:50), replacing "Caribbean Queen". On the UK Jive release (HIP 12) the track length was given (and measured) as 7:52 and titled "Caribbean Queen (No More Love on the Run)".
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Most of Verdonck's surviving output consists of secular music, and he wrote both French chansons and Italian madrigals. Some of the chansons are for unusually large groups of voices (for example, his publication Poésies françaises de divers autheurs mises en musique par C. Verdonck of 1599 is for 10 independent voices), and the texture of his music is mostly contrapuntal, with sometimes lively syncopation. One of his madrigals, Donna belle e gentile, fitted with English words (as "Lady your look so gentle"), appeared in the 1588 Musica transalpina collection by Nicholas Yonge which inaugurated the madrigal vogue in England. Verdonck also wrote sacred music; his output includes several motets and a Magnificat, which are scored for four, five, or six voices.
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Eminem has cited several MCs as influencing his rapping style, including Esham, Kool G Rap, Masta Ace, Big Daddy Kane, Newcleus, Ice-T, Mantronix, Melle Mel (on "The Message"), LL Cool J, Beastie Boys, Run–D.M.C., Rakim and Boogie Down Productions. In How to Rap, Guerilla Black notes that Eminem studied other MCs to hone his rapping technique: "Eminem listened to everything and that's what made him one of the greats". In the book, other MCs also praise aspects of his rapping technique; varied, humorous subject matter, connecting with his audience, carrying a concept over a series of albums, complex rhyme schemes, bending words so they rhyme, multisyllabic rhymes, many rhymes to a bar, complex rhythms, clear enunciation and the use of melody and syncopation.
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Fusion trumpeter Miles Davis in 1989 In the late 1960s and early 1970s, the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as Jimi Hendrix and Frank Zappa. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. According to AllMusic: > ... until around 1967, the worlds of jazz and rock were nearly completely > separate. [However, ...] as rock became more creative and its musicianship > improved, and as some in the jazz world became bored with hard bop and did > not want to play strictly avant-garde music, the two different idioms began > to trade ideas and occasionally combine forces.
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Butler 2006:8 In its simplest form, time is marked with kicks (bass drum beats) on each quarter-note pulse, a snare or clap on the second and fourth pulse of the bar, with an open hi-hat sound every second eighth note. This is essentially a disco (or even polka) drum pattern and is common throughout house and trance music as well. The tempo tends to vary between approximately 120 bpm (quarter note equals 120 pulses per minute) and 150 bpm, depending on the style of techno. Some of the drum programming employed in the original Detroit-based techno made use of syncopation and polyrhythm, yet in many cases the basic disco-type pattern was used as a foundation, with polyrhythmic elaborations added using other drum machine voices.
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"Notes on 'Here Comes the Sun'". Retrieved 14 February 2012. The melody in the verse and refrain follows the pentatonic scale from E up to C (scale steps 5, 6, 1, 2, 3). One feature is the increasing syncopation in the vocal parts. Another feature is the guitar flat-picking that embellishes the E7 (V7) chord from 2:03 to 2:11, creating tension for resolution on the tonic A chord at "Little darlin' ". The bridge involves a III-VII-IV-I-V7 triple descending 4th (or Tri-Plagal) progression (with an extra V7) as the vocals move from "Sun" (III or C chord) to "sun" (VII or G chord) to "sun" (IV or D chord) to "comes" (I or A chord) and the additional 4th descent to a V7 (E7) chord.
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Statman, Andrew, Teach Yourself Bluegrass Mandolin, Amsco Music Publishing Company, New York, 1978 At the end of the 1930s, a new musical genre which combined Scottish and Irish fiddle tunes, blues and African American banjo with traditional American songs began to develop. Bill Monroe, a Kentucky fiddler and mandolin player, was the first to bring all of the elements of this new genre together. Monroe developed a distinctive style of mandolin playing which emphasized strong syncopation and chording, and played in keys, such as E and B, seldom used by old-time and country musicians. He and his band, the Blue Grass Boys, played at the Grand Old Opry in late 1939 to popular acclaim, and other bands began to incorporate the new "bluegrass" music into their repertoires.
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The Old College Building is on the seafront and replaced Castle House, which had been built for Uvedale Price by John Nash in 1791–1794. Castle House had been bought by the railway entrepreneur Thomas Savin in 1864 and he employed Seddon to rebuild it as a hotel. Following Savin's bankruptcy in 1866, it was purchased by the future university and until 1890 Seddon together with his partner John Coates Carter continued to rebuild and extend the building. The Builder described it as one of the most original and characteristic monuments of the Gothic Revival, while Thomas Lloyd writes Seddon's originality lies in his very fluid use of curves and complex geometrical forms, and in the blurring of angles and joints, syncopation that has something of Art Nouveau.
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Although jazz purists protested the blend of jazz and rock, some of jazz's significant innovators crossed over from the contemporary hard bop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies. In addition to using the electric instruments of rock, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards, fusion also used the powerful amplification, "fuzz" pedals, wah-wah pedals, and other effects used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, keyboardists Joe Zawinul, Chick Corea, Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams, violinist Jean-Luc Ponty, guitarists Larry Coryell, Al Di Meola, John McLaughlin and Frank Zappa, saxophonist Wayne Shorter, and bassists Jaco Pastorius and Stanley Clarke.
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Cowell's interest in harmonic rhythm, as discussed in New Musical Resources, led him in 1930 to commission Léon Theremin to invent the Rhythmicon, or Polyrhythmophone, a transposable keyboard instrument capable of playing notes in periodic rhythms proportional to the overtone series of a chosen fundamental pitch. The world's first electronic rhythm machine, with a photoreceptor-based sound production system proposed by Cowell (not a theremin-like system, as some sources incorrectly state), it could produce up to sixteen different rhythmic patterns simultaneously, complete with optional syncopation. Cowell wrote several original compositions for the instrument, including an orchestrated concerto, and Theremin built two more models. Soon, however, the Rhythmicon would be virtually forgotten, remaining so until the 1960s, when progressive pop music producer Joe Meek experimented with its rhythmic concept.
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43–5, 57–8, 61–2 Part of the atmosphere created at jams like the ones found at Minton's Playhouse was an air of exclusivity: the "regular" musicians would often reharmonize the standards, add complex rhythmic and phrasing devices into their melodies, or "heads," and play them at breakneck tempos in order to exclude those whom they considered outsiders or simply weaker players. These pioneers of the new music (which would later be termed bebop or bop, although Parker himself never used the term, feeling it demeaned the music) began exploring advanced harmonies, complex syncopation, altered chords and chord substitutions. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach. Bop improvisers built upon the phrasing ideas first brought to attention by Lester Young's soloing style.
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Alternatively, the term has been defined as and can be something as insubstantial as a 'sound' (such as da doo ron ron) but While some melodic hooks include skips of an octave or more to make the line more interesting, a hook can be equally catchy by employing rhythmic syncopation or other devices. A hook may also garner attention from listeners from other factors, such as the vocal timbre or instrumentation, as in the case of the Beach Boys' use of an Electro-Theremin in "Good Vibrations". Some hooks become popular without using any unusual elements. For example, in the song "Be My Baby", performed by The Ronettes, the hook consists of the words "be my baby" over the conventional I–vi–IV–V chord progression of the chorus.
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Among Harrison's other peers, Paul Simon described "Something" as a "masterpiece" and Elton John said: "'Something' is probably one of the best love songs ever, ever, ever written ... It's better than 'Yesterday,' much better ... It's like the song I've been chasing for the last thirty-five years." In a 2002 article for The Morning News, Kenneth Womack included Harrison's guitar solo on the track among his "Ten Great Beatles Moments". Describing the instrumental break as "the song's greatest lyrical feature – even more lyrical, interestingly enough, than the lyrics themselves", Womack concluded: "A masterpiece in simplicity, Harrison's solo reaches toward the sublime, wrestles with it in a bouquet of downward syncopation, and hoists it yet again in a moment of supreme grace." Guitar World included the performance as the magazine's featured solo in June 2011.
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Jacques Callot's etching inspired Walton's Scapino overture Paul Hindemith, who premiered Walton's Viola Concerto Walton's first work for full orchestra, Portsmouth Point (1925), inspired by a Rowlandson print of the same name, depicts a rumbustious dockside scene (in Kennedy's phrase, "the sailors of H.M.S. Pinafore have had a night on the tiles") in a fast moving score full of syncopation and cross-rhythm that for years proved hazardous for conductors and orchestras alike.Hussey, p. 407; and Franks, Alan (1974), liner notes to EMI CD CDM 7 64723 2 Throughout his career, Walton wrote works in this pattern, such as the lively Comedy Overture Scapino, a virtuoso piece commissioned by the Chicago Symphony Orchestra, described by The Musical Times as "an ingenious blending of fragments in exhilarating profusion."Evans, Edwin.
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Goldberg's works, while much less famous than the composition by Bach that used his name, varied widely in style, showing influences from most of the musical trends during that transitional period in music history. His earlier works are similar to those of J.S. Bach, and suggest that the story he studied with the famous composer may be true; his later works show that he was sensitive to the popular tastes of the Dresden court, especially in his use of the galant style. Some of his last works, especially the concertos, use a sophisticated harmonic language akin to that of Bach's son Carl Philipp Emanuel, and were probably written for the musicians of Heinrich von Brühl. Syncopation, chromaticism, and melodies with a wide range are characteristic of these later works.
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Orisun Masks In the 60s, Tunji Oyelana was one of the original members of Wole Soyinka's 1960 Orisun Masks. He calls Soyinka "Ọ̀gá", meaning "boss" in Yoruba He was one of the original Soyinka actors travelling all over the world to interpret roles in such plays as Kongi's Harvest, The Road, Madmen and Specialists and Opera Wonyosi, to the delight of audiences. The Benders He later burst out on his own as an ethnomusicologist, producing folk music which ruled the airwaves in the 70s and 80s with a group famously known as Tunji Oyelana and The Benders. Many of his albums would qualify as classics in their genre, deploying native wisdom, folklore and wit, mixed with sparse syncopation and antiphony, relying heavily on the human voice and its inflections to lift the spirit.
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Composer and actor Max Morath found it striking that the vast majority of Joplin's work did not enjoy the popularity of the "Maple Leaf Rag", because while the compositions were of increasing lyrical beauty and delicate syncopation they remained obscure and unheralded during his life. Joplin apparently realized that his music was ahead of its time: As music historian Ian Whitcomb mentions that Joplin, "...opined that "Maple Leaf Rag" would make him 'King of Ragtime Composers' but he also knew that he would not be a pop hero in his own lifetime. 'When I'm dead twenty-five years, people are going to recognize me,' he told a friend." Just over thirty years later he was recognized, and later historian Rudi Blesh wrote a large book about ragtime, which he dedicated to the memory of Joplin.
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The tone quality of these locally produced guitars is described by Ciantar (1997) as "very compact, with very low bass resonance". Such tuning is through to better facilitate the technical demands imposed on the lead guitarist in the creation of new motifs and variations. In the introductory section a series of rhythmic and intervallic structures are created and developed; this same rhythmic and melodic material is then reiterated in the second section by both the ghannejja and the lead guitarist. The frequent use of syncopation and descending melodic movements, for instance, form part of the formal structure of both the singing and instrumental soloing in the spirtu pront; these are structural elements announced in the introductory section as to establish the style of both Ghana singing and playing.
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After college he moved to New York, where he had a brief stage career. Tillman then moved to Hollywood in 1947 where he appeared in a number of low budget films made with African American crews and casts including That Man of Mine, Love in Syncopation and The Fight Never Ends. He left the movie business and joined the clergy of the African Methodist Episcopal church in New York City serving as an assistant pastor before becoming an ordained minister. In the early 1950s he was transferred to a church in Houston, and served as an ordained minister in the African Methodist Episcopal Zion Church, In Harlem he was an assistant pastor at Harlem's Church on the Hill and then he was the pastor at the Walls Chapel in Houston.
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The writing and recording for "Blood" was inspired by La Havas' travels to Jamaica. Following the touring La Havas embarked on in order to promote her debut album, she traveled to Jamaica along with her mother in order to regain a connection with her roots. During her time in Jamaica La Havas played music for her family alongside dancehall and reggae producer Stephen McGregor (known under his production name Di Genius), who would later go on to produce the majority of the songs on Blood. The exploration of La Havas' roots inspired her to begin writing; she stated that the album's writing process and the songs were all related to "the feeling of who you are and where you come from", whilst the album's music was inspired by Jamaica's love of grooves, rhythms, and syncopation.
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Eminem has cited several MCs as influencing his rapping style, including Esham, Kool G Rap, Masta Ace, Big Daddy Kane, Newcleus, Ice-T, Mantronix, Melle Mel (on "The Message"), LL Cool J, Beastie Boys, Run–D.M.C., Rakim, DMX, Jadakiss, Nas, Raekwon and Boogie Down Productions. In How to Rap, Guerilla Black notes that Eminem studied other MCs to hone his rapping technique: "Eminem listened to everything and that's what made him one of the greats". In the book, other MCs also praise aspects of his rapping technique; varied, humorous subject matter, connecting with his audience, carrying a concept over a series of albums, complex rhyme schemes, bending words so they rhyme, multisyllabic rhymes, many rhymes to a bar, complex rhythms, clear enunciation and the use of melody and syncopation.
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Starting in 1967 Priscilla was professor of violin and viola and chamber music at the Cosmic Heights School of Music in Colorado Springs. She wrote; "During all these years from 1960 on, I also was the mother of seven children, born between concerts - I never missed a concert - who all became musicians, some of them world-class concert artists and soloists under my training." Gunther, Priscilla and their seven children. (Michaela, Brigitte, Christian, Engelbert, Phebe, Johann and Siegmund)When children, who look like angels also perform like angels, who possess all the skill necessary to tackle the heroic, Herculean, Brahms Sextet — when cascading technical passages are performed with effortless execution, and are matched by a lush tone and perfect intonation that make a syncopation, excitement, breath and brilliance, then we have a true greatness in our midst.
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Some of these modes in the game are designed to help the player practice specific techniques. Technique Challenges, for both guitar and bass, give practice to some of the common tricks for the two instruments, such as hammer-ons/pull-offs, Chords, and Power Chords for guitar, and two-finger plucking and syncopation for bass. Each song can also be played in a Riff Repeater mode, where the player can select a specific section of song to practice and perfect, with options on controlling the speed and note density level. A "Guitarcade" becomes available after completing one of the Technique Challenges, which incorporates that technique into a mini-game element, such as "Ducks", a Galaga-like shoot-em-up, where the player must get their fretboard positions correct to fire on targets approaching in various lanes.
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This new art form, the classic rag, combined Afro-American folk music's syncopation and nineteenth-century European romanticism, with its harmonic schemes and its march-like tempos, in particular the works of John Philip Sousa. With this as a foundation, Joplin intended his compositions to be played exactly as he wrote them – without improvisation. Joplin wrote his rags as "classical" music to raise ragtime above its "cheap bordello" origins and produced work which opera historian Elise Kirk described as "...more tuneful, contrapuntal, infectious, and harmonically colorful than any others of his era." There are many inconsistencies between the titles of compositions, their subtitles and their respective cover titles, which was seen by the editor of the collected works as reflecting "an editorial casualness" on the part of the publishers, and indicating a genre in which many dance-steps could be performed interchangeably.
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Former drummer Ted Epstein has also commented on the role funk music plays in his music, saying "something that has been with me since I was 15 or 16 is the idea of funk as a concept, the syncopation and the push/pull thing that exists in funk, embodied in Funkadelic, Grandmaster Flash, Sly and the Family Stone, and The Meters." Comparisons have also been made to Blue Cheer, Last Exit, the Sex Pistols, Glenn Branca and Jimi Hendrix. In reviewing the band's debut, a critic of Electronic Musician noted that "if you took original Hendrix multi-track tapes, wiped the vocals off, and handed them to Scientist, the reggae dub- mixer, the result might sound like B.l.G." Since its inception, Blind Idiot God's music has been entirely instrumental, with its members stating their unanimous disinterest with incorporating vocals into their arrangements.
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Much of Larley's output has been sacred choral music, ranging from short unaccompanied gems such as the well-known A Girl for the Blue through to full-scale works for choir, soloists and orchestra such as his Mass of a Thousand Ages written for the new millennium and first performed in April 2000. His musical style is fresh, tonal and approachable, with soft dissonances, soaring melodies and lilting syncopation, blending seamlessly his strong ecclesiastical roots in plainchant and monastic liturgy with the simplicity of a Celtic folk-like idiom. Reviewers and commentators have likened his musical style at various times to those of Gerald Finzi, William Mathias, John Rutter, Frederick Delius and Leonard Bernstein. A number of his choral works have been recorded on CD, broadcast on BBC Radio 3 and performed widely in the UK and in America.
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The combination of classical music, the musical atmosphere present around Texarkana (including work songs, gospel hymns, spirituals and dance music) and Joplin's natural ability have been cited as contributing significantly to the invention of a new style that blended African-American musical styles with European forms and melodies, and first became celebrated in the 1890s: ragtime. When Joplin was learning the piano, serious musical circles condemned ragtime because of its association with the vulgar and inane songs "...cranked out by the tune-smiths of Tin Pan Alley." As a composer Joplin refined ragtime, elevating it above the low and unrefined form played by the "...wandering honky-tonk pianists... playing mere dance music" of popular imagination. This new art form, the classic rag, combined Afro- American folk music's syncopation and 19th-century European romanticism, with its harmonic schemes and its march-like tempos.
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There seems to be a consensus among the few scholars who have seriously studied the metrics of zajal that it follows two distinct metrical systems. One metrical system is quantitative and is clearly based on some of the strict so-called Khalili meters of classical Arabic poetry (for instance the m3anna and related forms scan according to the classical sari3, rajaz and wafir meters,) and the other is stress-syllabic (for instance many sub-forms of the qerradi are clearly based on Syriac metrics, such as the syllabic metric of the Afframiyyat homilies attributed to the 4th-century St. Ephraem.) Both kinds of metrics in zajal are subject to fluid alteration by musical accentuation and syncopation which is possible due to the colloquial's malleability and its inherent allowance (like Syriac) to erode inflections and internal voweling.
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In its most typical form, the genre is characterized by repetitive 4/4 rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo between 120 and 130 beats per minute (bpm), synthesizer riffs, deep basslines, and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is sounded on beats one and three, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909,Rick Snoman, Dance Music Manual: Tools, Toys, and Techniques, page 267 , CRC Press or a TR-707 rather than by a live drummer. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation.
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It is widely accepted that the author of the famous «Zaporizhia march» alone is the Romny kobzar Yevhen Adamtsevych, a student of Musiy Oleksiyenko. In particular, it is confirmed via the correspondence of the researcher of kobzar performance O.Pravdyuk with the bandurist. In one letter to him Yevhen Adamtsevychwrote: In addition the Yevhen Adamtsevych first performed it in public - to the general public march became known in 1969 thanks to the performance of the blind bandurist. Subsequently, the march for orchestra was arranged by the chief conductor of the State Orchestra of National Instruments, Viktor Hutsal. The main theme of the composition consists of syncopation and descending melodies which in the technique national bandurists played with fingers sliding on the strings that was first used by a bandura player Hnat Khotkevych in instrumental accompaniment for his composition of folk song about Baida («Poem of Baida», 1912), which he orchestrated in 1930.
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Along with Fats Waller and Willie 'The Lion' Smith ('The Big Three'), and Luckey Roberts, Johnson embodies the Harlem Stride piano style, an evolution of East Coast ragtime infused with elements of the blues. His "Carolina Shout" was a standard test piece and rite of passage for every contemporary pianist: Duke Ellington learned it note for note from the 1921 QRS Johnson piano roll. Johnson taught Fats Waller and got him his first piano roll and recording assignments. Harlem Stride is distinguished from ragtime by several essential characteristics: ragtime introduced sustained syncopation into piano music, but stride pianists built a more freely swinging rhythm into their performances, with a certain degree of anticipation of the left (bass) hand by the right (melody) hand, a form of tension and release in the patterns played by the right hand, interpolated within the beat generated by the left.
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Dave Black (born 1959) is an American composer and co-author of numerous books, including Alfred's Drum Method, Alfred's Beginning Drumset Method, Alfred's Kid's Drum Course, Contemporary Brush Techniques, Drumset Independence and Syncopation, Living Praise, Cymals: A Crash Course, The Essential Dictionary of Orchestration, A Jazz Diary, and Sound Innovations for Concert Band. He has also written a number of articles, concert reviews, and book reviews for publications including The Instrumentalist, Down Beat, Modern Percussionist, Modern Drummer, Drums and Drumming, Drum Tracks, Jazz Educators Journal, Grammy Pulse, and Music Connection. More than 60 of his compositions and arrangements have been published by Alfred Music Publishing, CPP/Belwin, Highland/Etling, Barnhouse, TRN, and Warner Brothers, many of which have been recorded. He has written with, and for the bands of Louie Bellson, Sammy Nestico, Bill Watrous, Bobby Shew, Ed Shaughnessy, Gordon Brisker and the CSUN Jazz Ensemble.
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Jazz is a kind of music characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvisation. Though originally a kind of dance music, jazz has now been "long considered a kind of popular or vernacular music (and has also) become a sophisticated art form that has interacted in significant ways with the music of the concert hall". Jazz's development occurred at around the same time as modern ragtime, blues, gospel and country music, all of which can be seen as part of a continuum with no clear demarcation between them; jazz specifically was most closely related to ragtime, with which it could be distinguished by the use of more intricate rhythmic improvisation, often placing notes far from the implied beat. The earliest jazz bands adopted much of the vocabulary of the blues, including bent and blue notes and instrumental "growls" and smears.
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Combining the sixteen bar structure and blues modes and rhythms with religious lyrics, Dorsey's compositions opened up possibilities for innovative singers such as Sister Rosetta Tharpe to apply their very individual talents to his songs, while inspiring church members to "shout" -- either to call out catch phrases or to add musical lines of their own in response to the singers. This looser style affected other black religious musical styles as well. The most popular groups in the 1930s were male quartets or small groups such as The Golden Gate Quartet, who sang, usually unaccompanied, in jubilee style, mixing careful harmonies, melodious singing, playful syncopation and sophisticated arrangements to produce a fresh, experimental style far removed from the more somber hymn-singing. These groups also absorbed popular sounds from pop groups such as The Mills Brothers and produced songs that mixed conventional religious themes, humor and social and political commentary.
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This lack of wildness – the absence of danger, uncertainty or a deep feeling for the mad ones – especially hurts Dean, who despite the appealing Mr. Hedlund, never jumps off the screen to show you how Cassady fired up Kerouac and the rest". Peter Bradshaw of The Guardian felt that the film was a "good-looking but directionless and self-adoring road movie", and that it had "a touching kind of sadness in showing how poor Dean is becoming just raw material for fiction, destined to be left behind as Sal becomes a New York big-shot. But this real sadness can't pierce or dissipate this movie's tiresome glow of self-congratulation". Finally,Time magazine's Richard Corliss had a problem with Salles' approach to the material: "Though there’s plenty of cool jazz in the background, the movie lacks the novel’s exuberant syncopation – it misses the beat as well as the Beat.
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Other Long Island landmarks named in honor of Chapin include a graduate-student apartment complex at Stony Brook University, a theater in Heckscher Park in Huntington, New York, and a playground at the intersection of Columbia Heights and Middagh Street in Brooklyn Heights. On September 27, 2011, former U.S. Representative Alan Grayson wrote an article on the internet publication The Huffington Post about Chapin's song "What Made America Famous". Singer and songwriter Guthrie Thomas has long publicly stated that Chapin's song "Cat's in the Cradle" is one of the most difficult songs to perform, due to Chapin's master guitar playing and his brilliant syncopation of the lyrics, meaning each word must fit perfectly and in time with the playing. Also, despite seeming social and political differences with Chapin, Dr. James Dobson often quotes the entirety of "Cat's In The Cradle" to illustrate dynamics of contemporary American families.
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In a 2015 interview with the New York Daily News, Richards expressed his dislike for Rap and hip hop, deeming them for "tone deaf" people and consisting of "a drum beat and somebody yelling over it". In the same interview he called Metallica and Black Sabbath "great jokes" and bemoaned the lack of syncopation in most rock and roll, claiming it "sounds like a dull thud to me". He also said he stopped being a Beatles fan in 1967 when they visited the Maharishi Mahesh Yogi, but this did not prevent him from playing bass in John Lennon's pickup band "The Dirty Mac" for a performance of the Beatles' song "Yer Blues" in the Stones' Rock and Roll Circus in December 1968. For the weekend of 23 September 2016, Richards, together with director Julien Temple, curated and hosted a three-nights programme on BBC Four titled Lost Weekend.
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Elizabeth Y. Gilbert in Musical America (January 16, 1929): > It was not until the Spanish group that well-known Boston critics, who > consider it bad form to stay beyond a given point in the program, put back > their hats and coats, compelled to stay by the phenomenon of George > Copeland. Two Danses Espagnole, of de Falla and Granados, two pieces by > Infante, made Mr. Copeland's large audience all but stamp their feet in > rhythmic accompaniment. To a deaf onlooker, it would seem that Mr. Copeland > was banging at his piano unmercifully, and so he was, but with such powerful > and vibrating tones, with such subtly hesitated syncopation, as in de > Falla's Danse, that not only did the audience applaud wildly, not only did > the above-mentioned critics remain, but Mr. Copeland was forced to give five > or six encores, and even then could not satisfy the clamor for more. Mr. > Copeland is wise to specialize in rarities; in these he is unique.
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Ragtime was a style of dance music based around the piano, using syncopated rhythms and chromaticisms; the genre's most well-known performer and composer was undoubtedly Scott Joplin. Donald Clarke considers ragtime the culmination of coon songs, used first in minstrel shows and then vaudeville, and the result of the rhythms of minstrelsy percolating into the mainstream; he also suggests that ragtime's distinctive sound may have come from an attempt to imitate the African American banjo using the keyboard. Due to the essentially African American nature of ragtime, it is most commonly considered the first style of American popular music to be truly black music; ragtime brought syncopation and a more authentic black sound to popular music. Popular ragtime songs were notated and sold as sheet music, but the general style was played more informally across the nation; these amateur performers played a more free-flowing form of ragtime that eventually became a major formative influence on jazz.
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These are considered letters in their own respective right, and not vowels with diacritics, in the modern orthographical system. As the WLRP favors resurrecting old vocabulary, neologisms based on Massachusett radicals or use of forms from other extant languages over the use of English loan words, the new alphabet noticeably lacks the letters F, L, V and R, used only in loan words, as well as B, C, D, G, J, and Z that were previously used in both loans and native words as alternates to their respective voiced or unvoiced counterparts. Although excluded from the alphabet, these letters are used to write proper names and some loans from English as all speakers and language learners and speakers today are native English speakers in a predominately English-speaking nation. X, which mainly appears in rare syncopated versions of native words and English loan words, now only appears in loan words, but was originally used in dialects that allowed for syncopation.
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He was born in Brooklyn, New York City, United States, in 1913. He became a talented piano player and composed music for the theater. During his early years, Moross met and became lifelong friends with Bernard Herrmann. In 1931, he met Aaron Copland and joined his Young Composers Group, whose members also included Herrmann. Copland supported his work and Herrmann provided him an introduction to the entertainment media, beginning with the composition of music cues for radio shows in 1935. In the 1940s he began to work in Hollywood, California, where he would compose the music scores for sixteen films from 1948 to 1969. In 1956 he composed the score for the World War II drama The Sharkfighters, possibly traveling to Cuba with the film company. The score is distinctive in its use of ethnic themes featuring syncopation and percussion instruments that stress the ostinato rhythm that soon became the signature style element of his scores for many westerns.
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This has led to their overwhelming demand as a music festival headliner, Parker being backed live onstage by members of Perth native psych-rock outfit Pond. Hiatus Kaiyote, led by singer Nai Palm, emerged around the same time, offering a psychedelic sound influenced by R&B; and hip- hop, creating music laced with reverb and complicated by bizarre rhythmic syncopation. King Gizzard & the Lizard Wizard has also been a titan in the Melbourne psychedelic scene, releasing upwards of 15 studio albums and creating Flightless Records. Their sound is sonically unfettered, drawing from genres as eclectic and diverse as garage rock, hard rock and heavy metal, thrash metal (on Infest the Rats' Nest), Indian classical music, acoustic music (their 2015 record, Paper Mâché Dream Balloon, was recorded in a barn), microtonal music (Flying Microtonal Banana), boogie rock (demonstrated on Fishing for Fishies), indie rock, raga rock, blues rock, surf rock, jazz fusion, progressive rock, art rock and punk rock.
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Oxford University Press.Wagner, Tristan Prelude, openingWagner, Prelude to Tristan and Isolde, opening bars. Some of the most effective musical silences are very short, lasting barely a fraction of a second. In the spirited and energetic finale of his Symphony No. 2, Brahms uses silences at several points to powerfully disrupt the rhythmic momentum that has been building. (See also syncopation.) Brahms Symphony No. 2, finale, bars 135-142Brahms Symphony No. 2 finale, bars 135-142 During the 20th century, composers explored further the expressive potential of silence in their music.Lossef, N. and Doctor, J. (eds.) (2007) Silence, Music, Silent Music. London, Ashgate The contemplative concluding bars of Anton Webern’s Symphony (1928) and Stravinsky's Les Noces The Wedding, 1923) make telling and atmospheric use of pauses. Eric Walter White (1947, p.74) describes the ending of Les Noces as follows: "As the voices cease singing, pools of silence come flooding in between the measured strokes of the bell chord, and the music dies away in a miraculously fresh and radiant close."White, E. W. (1947) Stravinsky: a Critical Survey.
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"Math-metal" pioneers Watchtower, from Texas, took the concept of time-changes to a new level, combining thrash metal, syncopation and prog in their albums Energetic Disassembly (1985) and Control and Resistance (1989), giving rise to an extremely technical approach based on the rhythmic deconstruction typical of jazz fusion. This same type of prog metal will be later integrated into death metal by American bands such as Atheist (1991's Unquestionable Presence). Among the other pioneering thrash metal bands, one of the most important is the Canadian Voivod, with their complex and experimental style, full of psychedelic dissonances (Dimension Hatröss 1988, Nothingface 1989). The major US bands that contribute to further delineating and developing the genre are Psychotic Waltz and Dream Theater. The former, with an approach halfway between Watchtower and Fates Warning, produced A Social Grace (1990), melding their signature sound with the psychedelic Into the Everflow (1992), while the latter explored the legacy of the bands that preceded them while advancing their personal style with When Dream and Day Unite (1989).
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The trade name for them is "jazz"....Thereupon "Jazz" Marion sat > down and showed the bluest streak of blues ever heard beneath the blue. Or, > if you like this better: "Blue" Marion sat down and jazzed the jazziest > streak of jazz ever. Saxophone players since the advent of the "jazz blues" > have taken to wearing "jazz collars," neat decollate things that give the > throat and windpipe full play, so that the notes that issue from the tubes > may not suffer for want of blues – those wonderful blues. Examples in Chicago sources continued with the term reaching other cities by the end of 1916. By 1917 the term was in widespread use. The first known use in New Orleans, discovered by lexicographer Benjamin Zimmer in 2009, appeared in the New Orleans Times-Picayune on November 14, 1916: > Theatrical journals have taken cognizance of the "jas bands" and at first > these organizations of syncopation were credited with having originated in > Chicago, but any one ever having frequented the "tango belt" of New Orleans > knows that the real home of the "jas bands" is right here.
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Similarities between the two singers were often noted: same height, same weight, birthdays a few days apart. Fred Rabinstein, who worked with Edison, recalled: :They had amused themselves by singing opera in a burlesque fashion, as they [later] did in their 1922 record of "Operatic Syncopation"...They seemed to have everything in common except that Jones was a bachelor (he took a wife after his mother's death) and Hare was married, with a little girl named Marilyn, who was to serve for a short time as Jones's singing partner after her father's death in 1939... both had mothers whose maiden names were Roberts; both were five feet and seven inches tall; both had voices of operatic calibre that perfectly complemented each other, and both had had operatic experience.Gracyk, Tim. Popular Acoustic Era Recording Artists, "The Happiness Boys -- Comic Team of Billy Jones and Ernest Hare." They began on radio October 18, 1921 on WJZ (Newark, New Jersey), where they were sponsored by the chain of Happiness Candy stores.
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This work already displays in essence the significant features of his personal style: a rhapsodic, fantasia-like basic structure; a variable rhythm, often dance-like, though formed through syncopation; a continuous, vital driving pulse; and a wealth of melodic ideas that may often be traced back to themes from the folk music of Turkey and its neighbours. In these respects, Fazıl Say stands to some extent in the tradition of composers like Béla Bartók, George Enescu, and György Ligeti, who also drew on the rich musical folklore of their countries. He attracted international attention with the piano piece Black Earth, Op. 8 (1997), in which he employs techniques made popular by John Cage's works for prepared piano. After this, Say increasingly turned to the large orchestral forms. Taking his inspiration from the poetry (and the biographies) of the writers Nâzım Hikmet and Metin Altıok, he composed works for soloists, chorus and orchestra which, especially in the case of the oratorio Nâzim, Op. 9 (2001), clearly take up the tradition of composers such as Carl Orff.
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Because of the deep cultural significance of cross-rhythms to Sub-Saharan African music, several instruments have evolved there which are constructed in such a way as to more easily generate cross-rhythms. These instruments organize the notes in a uniquely divided alternate array – not in the straight linear bass to treble structure that is so common to many western instruments such as the piano, harp, marimba, etc.... Instruments such as the West African kora, and Doussn'gouni, part of the harp-lute family of instruments, and thumb piano type instruments such as the kalimba and mbira also have this separated double tonal array structure. On these instruments one hand of the musician is not primarily in the bass nor the other primarily in the treble, but both hands can play freely across the entire tonal range of the instrument. Also the fingers of each hand can play separate independent rhythmic patterns and these can easily cross over each other from treble to bass and back, either smoothly or with varying amounts of syncopation.
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Orchestra leader Phil Spitalny made a series of musical shorts beginning with Phil Spitalny (1929) at MGM, followed by shorts for both Vitaphone and Paramount, including Big City Fantasy (1929), Phil Spitalny and His Musical Queens (1934), Ladies That Play (1934), Phil Spitalny and His All Girl Orchestra (1935) and Sirens of Syncopation (1935). For promotional purposes, major film stars, including Gary Cooper and Clark Gable, made guest appearances in such musical shorts as MGM's Star Night at the Cocoanut Grove (1934) and Starlit Days at the Lido (1935), while others featured a single band, such as Freddie Rich and His Orchestra (1938). Richard Barrios (author of A Song in the Dark: The Birth of the Musical Film) provided notes for Kino Video's compilation, The Best of Big Bands and Swing: :During the "Dawn of Sound," musical short subjects were the hors d'œuvre before the main feature, and an effective means for the studio to test their freshly signed talent in front of the camera. Aggressively pursuing the top singers, songwriters and musicians of Tin Pan Alley, Paramount's roster of contract players was composed of some of the top names in the world of entertainment.
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Some of the devices named are: (passing note dissonances), (melodic imitation of varying kinds), (the repetition of a section for dramatic effect), climax (passages in parallel thirds or tenths), (the reprise of an opening passage at the end to make a cohesive statement), (the dramatic use of silence by inserting a sudden rest for rhetorical effect) (in this Nucius is one of the first music theorists to recognize the powerful musical use of silence, an idea which was to attain fame in modern times in the work of John Cage), and (syncopation, for rhythmic enhancement). All of these devices are presented with suggestions for their employment, with examples of texts they can set effectively. Nucius, though he represented an aspect of early Baroque practice, looked mainly to the past—and sometimes the distant past—for his examples of rhetorical devices in music. He considered John Dunstaple to be the earliest composer of expressive music (though earlier music may not have been available to him), and other composers he wrote about included Gilles Binchois, Antoine Busnois, Johannes Ockeghem, Heinrich Isaac, Ludwig Senfl, Josquin des Prez, and of course Lassus.
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The three movements are: #Allegro con spirit #Andante, in G major #Fugato. Molto vivace The first movement is notable for its use of horns in G instead of the usual horns in C (compare Haydn's earlier C major symphonies and those of his brother Joseph), so that the horns can participate in the harmonization of ii chords. The music begins straightaway with a triadic theme and bass on the beat, offset by half-beat syncopation in the second violins and violas. 500px For the recapitulation, the horns change to horns in C. There are even more horn crook changes in store for the players: in the second movement, the first horn switches to horn in E while the second player switches to horn in D, "a clever use ... to increase the range of notes available on instruments without valves."Robbins Landon, 1967 Robbins Landon also points out that in the Andante of this symphony of Haydn's uses the low C of the second trumpet, something Wolfgang Amadeus Mozart also did later when he wrote his Symphony No. 41 in C major (also written in 1788).
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Oxford: Oxford University Press (1945): 127 - 128. "And it is quite certain that we would not have possessed the finale of the 'Jupiter' Symphony in its particular form, in its contrapuntal texture, had it not been for the finale, entitled Fugato, of a C major symphony of Michael's, dated 19 February 1788. Here no doubt is possible: Ex. 8 [twelve bars of music are quoted in [piano reduction] And if this should still be thought an accident, there is the rhythmic motive, which appears at first in the horns: Ex. 9 [bar and half quoted, for two horns in G at written pitch but there is a small mistake involving the first dyad, which is a plain octave C in the Sherman edition but quoted as an E-C sixth in this book] or a counter-motive to the principal theme: Ex. 10 [three bars of music are quoted] --further, the play of syncopation, the introduction of groups of rapid eighth-notes; the juxtaposition of all these motives." As in the first movement, in the last movement the two horns again begin in G and switch to in C for the recapitulation.
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In 1936, the group signed to Decca Records and after just three releases called it quits (the last recording was February 12, 1936). Connee continued to have a successful solo career as a singer for Decca but also later recorded for the new Apollo label (1947), RCA Victor (1956) and Decca subsidiary, Design (1958). In addition to being a co-star on NBC Radio's Kraft Music Hall in 1940-41, Boswell subsequently starred in her own radio show on the NBC Blue Network (later ABC Radio) The Connee Boswell Show, (1944). In 1946 she was featured on CBS Radio Tonight On Broadway (1946). Her other guest appearances on radio included The Salute To Irving Berlin/Alexander's Ragtime Band (the feature film), CBS, August 5, 1938; America Calling (appeal for Greek War Relief) February 8, 1941; March of Dimes Special January 11, 1940, CBC Fourth Annual Victory Loan May 21, 1943, and Philco Radio Time ABC, June 4, 1947. Boswell also sang in a number of Hollywood films, including It's All Yours (1937), Artists and Models (1937), Syncopation (1942) and Swing Parade of 1946, as well as with the Boswell Sisters in 1932's The Big Broadcast and 1934's Moulin Rouge. Boswell was interviewed via phone by Bill Fisher on WOWO (Fort Wayne, Indiana).
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