Bachata is a rural Dominican style centered on staccato guitar syncopations and tales of woe.
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In "Tango," Ethan Liang and Ella Kronman navigated Mr. Riley's tricky syncopations with impressive poise.
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The tune "Chocolat-Citron," studded with fitful syncopations, suggested a caffeinated response to the Bad Plus.
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Panda Bear) and Dave Portner (Avey Tare), who often harmonized or traded syncopations syllable by syllable.
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Instead, syncopations are sketched in the midrange by handclaps, keyboard chords, electronic plinks or bits of guitar.
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Pico (or Teebs) turns up the dial on wordplay, introducing hip-hop-inflected syncopations among quick prose blocks.
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" Professionalism reigns, as the Jonas Brothers and their team update the syncopations, handclaps and gospel thump of George Michael's "Faith.
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What he brought to every piece of technology was a human element: quirks and syncopations, complex structures and outbursts of anarchy.
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He brought a touch of sly playfulness to the Allemande, and dispatched the syncopations in the snappy Courante with biting intensity.
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He's sharing the night with Nicole Moudaber, the minimal-techno expert who does wonders with booming kick drums and skeletal syncopations.
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Then you'll typically see women, not playing music, but rather shimmying in the front row of the crowd, dancing to the pounding syncopations.
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Standout track "Geibai Gpanga Ne Gna" retains all of this while adding a gentle horn section that interacts with the Kondi's beautiful vocal syncopations.
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"Here's my solo," Mr. Murphy announced in "Daft Punk Is Playing at My House," and started thwacking precise syncopations on a two-headed cowbell.
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"Take Me to Harlan" arrives in a more acoustic guise, accompanied by Fleck's stark (and harmonically audacious) banjo syncopations and Ms. Washburn's clog dancing.
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In the context of this concert, some of Mr. Carmona's multiple turns could seem like boilerplate, but he adapted to jazz syncopations with winning playfulness.
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When the Jews tell Pilate, "We have a law, and by the law he ought to die," the music is oddly infectious, full of jaunty syncopations.
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The result — a covers record riddled with the flubs and inventions of forgetfulness — was a jumble of intricate syncopations, vertiginous time changes and splintery guitar work.
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Ms. Goerke and the tenor Stephen Gould exchanged long-spun, melting phrases while the orchestra shimmered; subtle syncopations in the warm strings came across like nervous breathing.
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The keyboardist Michael A. Ferrara and the harpist Lavinia Meijer collaborated on a flowing rendition of the music, handling some of Mr. Glass's trickier syncopations with ease.
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In Stravinsky's "Variations (Aldous Huxley in Memoriam)," a similar preoccupation with timbre turns into a kaleidoscope of scintillating colors that include jazzy wind interventions, spidery strings and earthy syncopations.
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You could sense history in the various dances of the pianists' left hands: the slinky syncopations of habanera; the manic but metronomic bounce, in swing, as if between two trampolines.
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He's an avant-gardist known for his work with free improvisers like Cecil Taylor and Oliver Lake, but his Haitian parentage has a way of shining through in his syncopations.
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In his dance, a traditional form known as soleá por bulerías , he tackles sophisticated syncopations, arms flying, body akimbo, angrier, funnier, masked, unmasked—a man in the throes of himself.
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It's an instrumental with a vaguely Asian keyboard motif, drum syncopations that clarify and recede into quiet thuds, one-syllable vocal snippets, rhythmic breathing and a constantly recalibrated sense of tension.
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And notably, the choreographer Anne Teresa De Keersmaeker leaves behind the soaring lines of Jerome Robbins's original numbers in favor of loose, feral syncopations developed in collaboration with the dancers themselves.
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J.P. Class warfare comes to boy-band pop: Here's an Ed Sheeran song — note the vocal syncopations — that finds attraction in intelligence and car-repair skills rather than hair, makeup and designer footwear.
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He's an avant-gardist known for his work with free improvisers like Cecil Taylor and Oliver Lake, but his Haitian parentage has a way of shining through in the syncopations of his playing.
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I watched the whole festival with the longing of a Balanchine admirer born too late for the City Center years, but when the syncopations were bouncing to Bach, I wasn't thinking of history.
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"Psy Ops" has gnashing, dissonant, trebly guitar riffs over pounding drum syncopations, with Nadia Garofalo wedging telegraphic little bursts of lyrics — "now pay attention/your anger/fear/has got me" — wedged tightly into the groove.
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By playing the prime slot just prior to Moby's live set, R.A.W. schooled those in attendance with an otherworldly set of frantic syncopations, reggae samples and pulsing sub-bass lines that defined the early jungle sound.
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Though the sound of the strings in the opening is misty, it is swirling with syncopations, overlapping cross-rhythms and hemiolas, rhythmic devices that dissolve a listener's grounding sense of a first beat to the bar.
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L'Orchestre Afrisa International reunited Congolese musicians who forged the suavely irresistible syncopations of soukous — an African reclamation of the rumba topped by gleaming guitar lines — as the backup band for Tabu Ley Rochereau, who died in 2013.
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Domino, who died in Louisiana at 89, both embodied and extended the New Orleans piano heritage of styles that are at once unswervingly propulsive and floridly improvisational; he also infused early rock 'n' roll with New Orleans syncopations.
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The work has the dramatic cut-and-thrust of Verdi, some syncopations familiar from the composer's piano music, as well as choral complexities and solo arias that can stand with canonical works of the Romantic and modern eras.
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When percussion sounds arrive among his pillowy sustained chords and flutelike melodies, they're likely to be the snickering syncopations of trap, while the strongest rhythm comes from deep, viscous bass tones that skid and lurch like improbably prolonged drunken stumbles.
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" Here, Mr. Forsythe begins to play with variations on the themes of the first movement, with angling hips and shoulders, hands passing around and over the head, little syncopations inflecting a purely classical step that echo Balanchine's "Agon" and "Apollo.
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" Pop music, he added "has very clear structure, just like classical music; the nature of the syncopations and the underlying contrapuntal motors of the music allow the same kind of drive that Tchaikovsky, Prokofiev and Stravinsky brought to ballet music.
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It hangs together beautifully, mostly because the trio itself is so well-balanced—Mark Speer's fluid guitar is given space to spill over by drummer Donald Johnson's gentle syncopations, and Laura Lee's intuitive basslines are always drifting in and out.
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"Me and Julio Down by the Schoolyard" has evolved toward a New Orleans-flavored beat, and on Wednesday night the eerie, choppy syncopations of "The Cool, Cool River" led to a piano solo by Mick Rossi that splashed toward free jazz.
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The result allows the Tony-winning score from Lynn Ahrens (lyrics) and Stephen Flaherty (music) to seep into every corner of a historical fantasia that takes its title from a bygone musical genre whose syncopations are no less joyous today.
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The production, mostly by the team of Pop & Oak, leans on solemn keyboards and slow, programmed drumbeats with an R&B undertow, and Ms. Cara's melodies use the syncopations of hip-hop in the verses, on their way to more expansive pop choruses.
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On "Body and Shadow" — the Fellowship's fourth album, out next week — Mr. Blade, a renowned drummer, lets his knack for ground-opening syncopations take a back seat; his compatriots forgo the kind of high-flown soloing that he's so good at conjuring.
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Bouncing across the fairgrounds field, mingling with second-line brass-band drums, Mardi Gras Indian chants and the hooting, ratcheting two-steps of zydeco bands (like Dwayne Dopsie and the Zydeco Hellraisers), their syncopations joined the New Orleans mix, sounding right at home.
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Closer at hand, the sixty-six drums' polyrhythms and syncopations resolved into a conversation: between the dobra, the mid-range bass drums that carried melodic lines; the repique, the high-pitched tom drums; and the caixa, or snare drum, the crossover from European music.
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With her stories, she crafted inventive narratives told through first-person voices of animals as a way to illuminate moments of human conflict while paying homage to various authors (for example, a mussel speaking in Kerouac-like syncopations right before the bombing of Pearl Harbor).
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"Red Flag Day" — with the nimble syncopations of the Edge's rhythm-guitar chords, Adam Clayton's bass and Larry Mullen Jr.'s drums meshing like the Police — starts as a romp at a Mediterranean beach paradise but ends up thinking about migrants drowned in those same waters.
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The verses to "Proactive Evolution" depict a state of debilitating weakness, and there are samples of doctors' voices in the mix, but when the chorus insists, "I'm on fire, and I'm on right now," and the music's tightly wound syncopations pick up, they are insistent signs of life.
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In "SNM O12H" (2014), from the series Sonamu Pine Tree, the contemporary South Korean photographer, Bae Bien-U, portrays animated, atmospheric syncopations, as he appears to blend art forms; the calligraphy of his pines reads as much like a large-scale ink wash drawing as it does a photograph.
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Other MacMillan pieces feel less important or interesting; the 1974 "Elite Syncopations" (performed by a mix of principals from different companies) is set to music by Scott Joplin and other ragtime composers, and its insistent perkiness and slightly hammy jokes pall, even though it is choreographically challenging and smoothly constructed.
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" But Mr. Tommasini was more favorably impressed by a 2008 concert when Mr. Lang played Tchaikovsky's Piano Concerto No. 1 with the New York Philharmonic in Central Park: "He vanquished the technical challenges, playing with utter command and disarming joy, bringing out inner voices and rhythmic syncopations that caught his ear.
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Ms. Cuthbertson's program features mostly new work, including pieces by Stina Quagebeur, Gemma Bond and Robert Binet, while Mr. Puissant's program offers Maurice Béjart's "Song of a Wayfarer," performed by Mr. Gordon and Mr. Hallberg, Kenneth MacMillan's "Elite Syncopations" and a second piece by Ms. Bond, an American Ballet Theater dancer.
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But as thrilling as these palpitating accompaniments are — obviously sexual in their throbbing and striving — the most original and profound of Schumann's syncopations occur when a ghost melody follows the main melody at some distance, an echo blurring the sense of time, making the music seem almost divorced from itself.
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Draw up a list of the 2000s' most potent singles and the Thin White Duke's influence will be made plain—the Bond-3000 grandiosity of "Toxic," the robot fashion show of "Bad Romance," the shorted-out sexuality of "Last Nite," the sax fantasia of "Run Away with Me," the funked-up syncopations and meticulous detail of Missy Elliott's highest points.
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That side of Mr. Kiwanuka's music reappears in "One More Night," a Stax-style soul song about clinging to hope, and in the album's first single, "Black Man in a White World," a complex declaration of identity, with a field-holler-like melody set to handclaps, tricky funk syncopations from Mr. Kiwanuka's own guitar and bass tracks and jabs of disco strings.
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GIOVANNI RUSSONELLO The kondi is the Sierra Leone variant of the African thumb piano, and it plinks quick, terse, insistent syncopations all the way though "Titi Dem Too Service," by Kondi Band, which is the project of Sorie Kondi, a singer and kondi player from Sierra Leone, and Chief Boima, an American D.J. and producer with roots in Sierra Leone.
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Alongside performers like FKA twigs, SZA and Tinashe, Kelela (whose last name is Mizanekristos) was part of a wave that was called future R&B when she released a mixtape in 2013, "Cut 4 Me." It announced her alliances with producers associated with the Night Slugs label in England and the similarly minded Fade to Mind label in Los Angeles, who favor subterranean bass tones, abstract syncopations and gaping spaces.
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" Working the pedal with prodigious and playful subtlety, he used it on many hit songs — for crunching syncopations and floating, curling chords in the Temptations' "Papa Was a Rolling Stone"; for slinky countermelodies in Marvin Gaye's "Let's Get It On"; for chattering propulsion in Rose Royce's "Car Wash"; for little bluesy sighs and rhythmic nudges in Gloria Gaynor's "I Will Survive"; and for airborne, echoing interjections in Maxwell's "Ascension (Don't Ever Wonder).
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"Elite Syncopations" is a 1902 ragtime piano composition by American composer Scott Joplin, originally published in 1903 by John Stark & Son."Elite Syncopations, by S. Joplin (1868–1917)". Mutopia Project. Retrieved May 7, 2017.
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From the Caribbean islands and other sources, Rag adopted strong syncopations in both the left and right hands of piano music.
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His expansion of Anastasia into a three-act version (1971) and the other full-length work from this period, Manon (1974), divided opinion, receiving fiercely adverse reviews as well as laudatory ones. His Joplin ballet Elite Syncopations (1974) and Requiem (1976) were immediately successful and have been regularly revived."Elite Syncopations" and "Requiem", Royal Opera House performance database, retrieved 30 November 2014 The latter was dedicated to the memory of Cranko, who had died suddenly in 1973.
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"Elite syncopations" (sheet music). Library of Congress. Retrieved May 7, 2017. One of his more popular works, it is one of a handful of Joplin's rags for which he recorded a piano roll.
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Duration of roughly 2–3 minutes. The scherzo is marked allegro molto. describes it as "terse", and as "humorous", even though it is in the minor key. The rhythm is complex with many syncopations and ambiguities.
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Minuet of opus 20 number 3. The phrase is five measures long.Haydn experiments with asymmetrical phrases and syncopations. The common practice of the time was to write melodies that divided neatly into four- and eight-measure chunks.
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He became a popular bandleader in Chicago during the 1920s. His band, the Charley Straight Orchestra, had a long term engagement at the Rendezvous Café from 1922 to 1925 and recorded for Paramount Records and Brunswick Records in the 1920s. During the 1920s Straight worked with Roy Bargy on the latter's eight Piano Syncopations. In describing "Rufenreddy", the fifth in the series, the ragtime historian "Perfessor" Bill Edwards stated: :The actual parentage of this piece will likely remain obscured to some degree, since Bargy's collaborator, Charley Straight, more or less may have let Bargy take credit when the piano rolls of the Eight Piano Syncopations were transcribed into sheet music form.
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Artist Biographies, Sadler's Wells Royal Ballet Season Programme Booklet, Sadler's Wells Theatre, December 1988. During this period he also conducted several British orchestras and appeared as pianist in Elite Syncopations. Tovey conducted the first season of the revived D'Oyly Carte Opera Company in 1988.Lisle, Nicola.
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The Chacarera has also provided inspiration for art music composers like Alberto Ginastera, who used the genre’s distinctive syncopations frequently in his work. Manuel Gómez Carrillo himself was a conservatory-trained pianist, and set a precedent for this kind of “academic” setting in his compositions for solo piano.
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This is a dance-like three-part variation in time. The same sixteenth note figuration is continuously employed and variously exchanged between each of the three voices. This variation incorporates the rhythmic model of variation 13 (complementary exchange of quarter and sixteenth notes) with variations 1 and 2 (syncopations).Melamed, Daniel.
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The contradanza included many of the traits that are shown in the son, such as duets with melodies in parallel thirds, the presence of a suggested clave rhythm, implicit short vocal refrains borrowed from popular songs, distinctive syncopations, as well as the two-parts song form with an ostinato section.
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Because the bodhrán typically plays 16th notes (Kerry style), a great deal of variety can be introduced by these syncopations and the use of rests. Combined with manual pitch changes and naturally occurring tonal variations in an animal skin drumhead, the bodhrán can almost sound as melodically expressive as other non-percussive instruments.
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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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In music, tension is the anticipation music creates in a listener's mind for relaxation or release. For example, tension may be produced through reiteration, increase in dynamic level, gradual motion to a higher or lower pitch, or (partial) syncopations between consonance and dissonance.Kliewer, Vernon (1975). "Melody: Linear Aspects of Twentieth-Century Music", Aspects of Twentieth-Century Music, p. 290\.
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It moves in eighth notes, allegro, the treble and bass rapidly alternating throughout the entire piece. Near the end, the tension is increased by syncopations. Brendel suggests the delicacy of this variation by entitling it Snowflakes. Beethoven diverges from Diabelli's structure of two equal parts, each one repeated, by omitting a repeat for the first part.
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The copyright on "The Entertainer" was registered December 29, 1902, along with two other Joplin rags, "A Breeze from Alabama" and "Elite Syncopations", all three of which were published by John Stark & Son of St. Louis, Missouri. The centerpiece of the original cover art featured a minstrel show caricature of a black man in formal attire on a theater stage.
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According to Bocanegra on p. 707 of the Ritual, the song was sung as a processional hymn on Lady Days. Musically, it is set for four voices (tiple, alto, tenor and baxo) in a homorhythmic syllabic style, with a harmonic structure characteristic of Renaissance sacred music. The rhythm, dividing neatly into 3+3+4+3+3+4, with lilting syncopations in mm.
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The prototypical example of the style is found in Sly Dunbar's drumming on "Right Time" by the Mighty Diamonds. The Rockers beat is not always straightforward, and various syncopations are often included. An example of this is the Black Uhuru song "Sponji Reggae". In Steppers, the bass drum plays every quarter beat of the bar, giving the beat an insistent drive.
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Third movement of opus 20 number 1, marked Affetuoso e sostenuto The second movement is a minuet, one of two from the set that follow all the rules of the traditional dance (the other is the minuet of number 6). The third movement is marked "Affettuoso e sostenuto", written in A major as an aria, with the first violin carrying the melody throughout. The finale, marked presto, is built on a six-measure phrase, with extensive use of syncopations in the first violin. In the middle of the movement there is an extended passage where the first violin plays syncopations and the other instruments are playing on the second beat of the bar; no one plays on the downbeat, and toward the end of the passage the listener loses track of the meter, until the main theme returns.
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Tempo is varied throughout the piece and is marked by the terms accelerandi and ritenuti. Some sections have notated tempo, for example 60 bpm during some energetic passages. The lento passages are pulseless, hence, creating contrast between the sections where pulse is evident and the ones where it is not. Dectuplets, syncopations between septuplets and quintuplets and grace notes are used in the metrically active sections.
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The Rio Grande is scored for alto soloist, mixed chorus, piano, brass, strings and a percussion section of 15 instruments, requiring five players. It combines jazzy syncopations, ragtime and Brazilian influences, harmonies and rhythms inspired by Duke Ellington, with a traditional English choral sound. The outer sections are brisk, surrounding a central nocturne. The piano part often plays triplets against duplets, redolent of a rumba.
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Ysaÿe marks this with accents, syncopations, and a triple fortissimo. Following the end of this introduction, a new theme in B-flat minor, is introduced. This section is titled Scène funèbre (funeral scene) and is solemn and deeply felt, to be played in a very sustained manner. The piece then becomes more agitated, with more syncopated rhythms and interplay between the violinist and orchestra.
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While it lacks modulation, it contains well-turned melodic and rhythmic phrases, and syncopations that add to its American style. The Indian Princess certainly began a long American tradition of romanticizing and sexualizing Pocahontas, who was only a child in Smith's original accounts. Therefore, it deserves recognition for inaugurating a genre, but it can be criticized for diminishing the potential richness of the subject matter.
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In July 1982, the song was included in the Billboard Top Single Picks, recommended section, stating "Graham's recent success as a balladeer hasn't buried his roots in hearty black pop, as evidenced by this infectious exercise in smooth funk. Synthesizer, hand-claps and Graham's sly bass syncopations keep the pace while the singer still adds enough of a croon to his delivery to keep female listeners swooning".
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37 As time moves on to the 19th century, people recognized rubato yet slightly differently. In Chopin's music rubato functioned as a way to make a melody more emotional through changing the tempo by, for instance, accelerando, ritenuto and syncopations. Chopin "often played with the melody subtly lingering or passionately anticipating the beat while the accompaniment stayed at least relatively, if not strictly, in time".Rosenblum, p.
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She noted: > Tao has a trick of subtly emphasizing bass lines and syncopations in a way > that sounds fresh yet organic, never forced or overblown. He has huge > technique and facility, but it's his relaxed, almost jazzy approach to the > music that stood out. The Schumann was all restless energy and shifting, > interior light. The Beethoven had a lively, prancing magnificence, vivid as > a film.
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Other instruments commonly heard in plena music are the cuatro, the maracas, and accordions. The plena rhythm is a simple duple pattern, although a lead pandereta player might add lively syncopations. Plena melodies tend to have an unpretentious, "folksy" simplicity. Some early plena verses commented on barrio anecdotes, such as "Cortarón Elena" (They stabbed Elena) or "Allí vienen las maquinas" (Here come the firetrucks).
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My poetry education at school had been overwhelmingly white, British, subtle, pastoral and internalised. Baraka and other writers of the ground-breaking 1960s Black Arts Movement like Jayne Cortez and Sonia Sanchez, and their literary descendants, were the opposite. Through them I discovered the importance and urgency of uncompromising political poetry that drew on black perspectives and experiences and used black vernacular and jazz syncopations.
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The cover of the original sheet music prominently features a well-dressed man and lady sitting on a treble staff, looking down upon a cherub clutching a cymbal in each hand, which reflects plainly the title of the piece. In 1974, the British Royal Ballet, under director Kenneth MacMillan, created the ballet Elite Syncopations based on tunes by Joplin and other composers of the era.
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The smallest, highest-pitched surdo, generally between 14" and 18" in diameter, plays the terceira (Portuguese: third) or cutador (Portuguese: cutter) part. The terceira "cuts" across the basic pulse of the other two surdo parts with a complex pattern of fills and syncopations. The feel of the bateria is driven by the terceira's "swing". The only surdo player with even limited room to improvise is the terceira player.
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56, 58. The "Maple Leaf Rag" did serve as a model for the hundreds of rags to come from future composers, especially in the development of classic ragtime. After the publication of the "Maple Leaf Rag", Joplin was soon being described as "King of rag time writers", not least by himselfBerlin (1994) p. 128. on the covers of his own work, such as "The Easy Winners" and "Elite Syncopations".
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The album's abstract rhymes in strange syncopations laid on top of sampling experiments proved widely influential, from Public Enemy to gangsta rap to several generations of underground hip hop artists."Hip Hop's Greatest Albums By Year" in Sacha Jenkins, Elliott Wilson, Chairman Mao, Gabriel Alvarez & Brent Rollins. ego trip's Book of Rap Lists, New York: St. Martin's Press, 1999, pp. 331–337. Brian Coleman, Check the Technique, New York: Villard, 2007.
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Prince Siegfried in Ángel Corella's Swan Lake, Alli in Le Corsaire, Grand Pas Classique. He was part of a new creation of Palpito by Rojas and Rodriguez which was created especially for the New York City Center. Repertoire with Birmingham Royal Ballet includes: The Joker in John Cranko's Card Game, Friday night in Kenneth MacMillan's Elite Syncopations, Benvolio in Romeo and Juliet. Other appearances of his include in Hans van Manen's Große Fuge and Twilight.
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She received a BA from Bennington College in 1977 and pursued graduate studies in art history at the University of Chicago between 1979 and 1981. Wheeler was the first example of an Elliptical Poet described by Stephen Burt in his creation of the term in 1998. and expanded upon in an eponymous essay in American Letters & Commentary.. Her work is also referred to in Jed Rasula's Syncopations: The Stress of Innovation in Contemporary American Poetry.
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Then it ends with some difficult trills and an octave scale. Beethoven opens the development by improvising on trill patterns introduced in the end of the exposition, which are much more difficult to play. Following a broken-chords section filled with harmony changes, the main theme is restated in D major (pianissimo), the supertonic key of C major. Then a fortissimo and Beethoven's very common syncopations appears in the music giving a rhythm, this continues on to the resolution.
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Mathcore is a subgenre of hardcore punk and metalcore influenced by post- hardcore, extreme metal and math rock that developed during the 1990s. Bands in the genre emphasize complex and fluctuant rhythms through the use of irregular time signatures, polymeters, syncopations and tempo changes. Early mathcore lyrics were addressed from a realistic worldview and with a pessimistic, defiant, resentful or sarcastic point of view. In the 1990s, the hardcore punk scene started to embrace extreme metal openly.
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This is succeeded by a surging melody with conflicting rhythms, ornamented with the parasitic grace notes characteristic of the animated polquinha of the cidade nova. At the end, the Amerindian theme is recalled, to confirm the transformation it has undergone . The syncopations characteristic of the middle part of Chôros No. 7 are common to the habanera, Brazilian tangos, maxixe, and the polkas (polquinhas) of one of the originators of the choro genre, the flautist Joaquim Antônio da Silva Calado .
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Chopteeth is a Washington, D.C.- based afrofunk big-band. Although rooted in Fela Kuti's Nigerian afrobeat, Chopteeth's music is an amalgam of Ghanaian highlife, Senegalese rumba, Jamaican ska, Mande griot music, 1970's West African funk, Ewe dance drum rhythms, Kenyan Taita afropop, soul-funk, and jazz.About Chopteeth Chopteeth's writing and arrangements feature unique driving syncopations, and occasional odd meters. Chopteeth vocalists sing in eight different languages including English, Nigerian Pidgin, Swahili, Wolof, Mande, Twi, Taita, and French.
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The movement of the dance is fast and powerfully flowing and sprinkled with syncopations. The upbeat melodies that quickstep is danced to make it suitable for both formal and informal events. Quickstep was developed in the 1920s in New York City and was first danced by Caribbean and African dancers. Its origins are in combination of slow foxtrot combined with the Charleston, a dance which was one of the precursors to what today is called swing dancing.
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Haydn composes the third movement in ABA form with a minuet and trio. Both the minuet and trio are in binary form with repeats. In order to create a more entertaining movement for the listener, Haydn composes the minuet with phrases of six measures as opposed to the normal four-measure phrase and adds syncopations and stops. All of these qualities were found to be humorous by the audiences of Haydn’s time because they were so unusual.
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"OMG What's Happening" is a disco-funk song. Jon Pareles of The New York Times compared it to songs released by Doja Cat, Dua Lipa, and Lady Gaga. The song contains Dominican bachata guitar syncopations which transition into disco hi-hats, synthesizers and rhythm guitar. It also uses a chord progression from Gloria Gaynor's 1978 song "I Will Survive", which inverses its lyrical message about being "smitten" in place of the original song's message of "independence".
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In contrast with his harmonic and melodic style, which pushed the bounds for his time, Fauré's rhythmic motives tended to be subtle and repetitive, with little to break the flow of the line, although he used discreet syncopations, similar to those found in Brahms's works. Copland referred to him as "the Brahms of France". The music critic Jerry Dubins suggests that Fauré "represents the link between the late German Romanticism of Brahms ... and the French Impressionism of Debussy."Dubins, Jerry.
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Three Scott Joplin rags provide the work's structure: Maple Leaf Rag (1899) opens the dance, followed by the waltz Bethena (1905) and Elite Syncopations (1902); a reprise of Maple Leaf Rag concludes the dance. The work is brimming with parodies of Graham's signature moves and send-ups of her best-known dances. Her twirling white-clad surrogate crosses the stage intermittently, accompanied each time by ill-boding percussive piano. Graham also pokes fun at the overwrought sexuality of some her repertory.
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Timbral roughness is achieved through various contrasts including the pairing of muted trombones with low oboes, using flutter- tonguing in the brass, glissando effects in the timpani, and giving solo material to instruments including contrabassoon and muted bass trombone, among other orchestrational and compositional choices. A constant, quick pulse is implicitly present throughout Moler, but syncopations and gaps in the texture add instability and drama. A two-note motif, short-long, and its slightly longer short-short-long version recur throughout.
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Musically, the sound of Nothing Feels Good has been described as emo and power pop, drawing comparison to Superchunk and Knapsack. Throughout the album, Didier uses various syncopations, triplet fills and double-time cymbal hits. Beschta, instead of playing basic root notes, opted for more melodic and rhythmic parts. Bohlen incorporated geographical and color symbolism in his lyrics; he refers to his girlfriend as red, white and blue in "Red & Blue Jeans", while in "B Is for Bethlehem" the colors are representative of blood and flesh.
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Rothstein's idea is that ornamentations such as retardations or syncopations result from displacements with respect to a "normal" rhythm; other diminutions (e.g. neighbor notes) also displace the tones that they ornate and usually shorten them. Removing these displacements and restoring the shortened note values operates a "rhythmic normalization" that "reflects an unconscious process used by every experienced listener" (p. 109). This type of reduction has a long tradition, not only in counterpoint treatises or theory books,Kofi Agawu, "Schenkerian Notation in Theory and Practice", op. cit.
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The track was produced by Greg Fidelman. Revolver magazine's Kelsey Chapstick categorised the song as "heavy, bluesy rock", outlining that it "carries the sinister, devilish tones trademarked by Butler, but the exultant vocal performance by Perez and groove-laden syncopations of Sorum lend a distinctly contemporary hard-rock feel". Ryan Reed for Rolling Stone described the track as "a brooding blues-rock epic". Deadland Ritual played their first live shows in 2019, appearing at Download Festival in the UK and Hellfest in France, both in June.
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At the time of its composition, Golliwoggs were in fashion, due partly to the popularity at that time of the novels of Florence Kate Upton ("golliwog" is a later usage). They were stuffed black dolls with red pants, red bow ties and wild hair, somewhat reminiscent of the blackface minstrels of the time. The cakewalk was a dance or a strut, and the dancer with the most elaborate steps won a cake ("took the cake"). The piece is a ragtime with its syncopations and banjo-like effects.
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The Peabody is a brisk dance that covers a lot of space on the dance floor. Danced to almost any 2/4 or 4/4 ragtime tune of appropriate tempo, it is essentially a fast one-step, with long, gliding strides and a few syncopations. The leader changes sides as he travels around the floor and adds promenades and simple turns as the dance progresses. The partners may also add slight dipping motions with their upper bodies once they master the rhythm and flow of movement.
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These rhythms, syncopations and melodic ideas all relate to the core belief of Taoism, balance and harmony. The demeanour and interaction between the priests and worshippers reflected an air of individual focus. The priests were constantly absorbed on the prayers, chanting, and rhythm and ignored all other matters. Many other worshippers came and went as the ceremony progressed and paid their respects to the three purities and the two adjoining altars on either side of the main altar, at which the ceremony was held.
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The rhythmic syncopations, polyrhythms, percussively treated chords, bitonality, and scoring of Schmitt's work anticipate Stravinsky's The Rite of Spring. While composing The Rite of Spring, Stravinsky acknowledged that Schmitt's ballet gave him greater joy than any work he had heard in a long time, but the two composers fell out with each other in later years, and Stravinsky reversed his opinion of Schmitt's works. Schmitt was one of the ten French composers who each, in 1927, contributed a dance for the children's ballet L'éventail de Jeanne. Schmitt wrote the finale, a Kermesse-Valse.
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To this end, he researched the original texts from people such as Luther, Gerhardt, and others, hoping to find the original texts for the hymns his people were singing. In this he was mostly successful - the textual reforms he made still remain in hymnals today. He was unsuccessful, though, in restoring the tunes to their original states. The Renaissance-style tunes employed by the early Reformers had largely been smoothed out, such that the lively syncopations common to music of that era had been replaced by simple, plodding meters.
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In 2014, Stubblefield was named the second best drummer of all time by LA Weekly. According to the LA Weekly, "Stubblefield is one of the most sampled drummers in history, the man whose uncanny ability to deconstruct pop music's simple 4/4 rhythms into a thousand different sly syncopations laid the foundation not only for funk, but for most of hip-hop, as well." In 2013, Stubblefield and Starks received the Yamaha Legacy Award. In 2004, he received the lifetime achievement award at the Madison Area Music Awards.
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"Charles Rosen, Music and Sentiment (New Haven and London: Yale University Press, 2010), p. 45. Bach, Allemande from Partita 1, bars 13–18 Bach Allemande from Partita 1, bars 13–18 Many passages in Bach's religious works follow a similar expressive trajectory involving major and minor keys that may sometimes take on a symbolic significance. For example, David Humphreys (1983, p. 23) sees the "languishing chromatic inflections, syncopations and appoggiaturas" of the following episode from the St Anne Prelude for organ, BWV 552 from Clavier- Übung III as "showing Christ in his human aspect.
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It opens with a motoric sixteenth- note motif that continues almost uninterrupted to the end of the piece, and includes unusually elaborate concertato effects. Bach even notates manual changes for the organist, an unusual practice in the day as well as in Bach's organ output. The fugue, also in D minor, is long and complex, and involves a rather archaic-sounding subject which prominently features syncopations and three upward leaps of a perfect fourth. The strict contrapuntal development is only broken in the final four bars, when a few massive chords bring the piece to a close.
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The system was notably used by Mute Records label head Daniel Miller, who helped produce Depeche Mode's A Broken Frame; and by The Human League (MK1 incarnation). Specifically, the albums Reproduction and Travelogue used a large System 100 (1 x 101, 2 x 102, 2 x 104, 1 x 103) multitracked to provide nearly all the arrangements, including drums and percussion. The K2 Plan (Shekhar Raj Dhain) used it extensively in a similar vein, multitracked and with the sequencer providing odd syncopations and effects. Joy Electric's The White Songbook album (2001) was created by using a System 100 exclusively.
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Guitarist Vernon Reid has said of Shannon that he "wasn't an ideological avant-gardist. He made the music he made from an outsider's view, but not to the exclusion of rock and pop – he wasn't mad at pop music for being popular the way some of his generation are. He synthesized blues shuffles with African syncopations through the lens of someone who gave vent to all manner of emotions…the collision of values in his music really represents American culture." Common characteristics among the incarnations of The Decoding Society include doubled instrumentation (basses, saxophones, or guitars).
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He was promoted further, to Soloist, in 1991, at what had become the Birmingham Royal Ballet. Roles taken included leading positions in The Nutcracker, Giselle, Elite Syncopations and Danses Concertantes by MacMillan, and works by Ashton, Bintley, de Valois, Massine and de Mille. He also performed in the Royal Variety Show, and in the Children's Royal Variety Show with Kylie Minogue, and with the Dublin Grand Opera Society. On stepping back from full-time dancing Wilson pursued the Professional Dancers' Teaching Course at the Royal Academy of Dance, securing a distinction, and became Head of Boys Ballet at Elmhurst Ballet School during 1995.
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In three movements: #Allegro brillante #Andantino in B-flat major #Rondeau, #Presto scherzante The first movement, Allegro brillante, is a sonata form that begins with a theme which is basically a D minor scale going up, followed by i and V arpeggiations. The second subject theme uses syncopations and has a dance-like character. The horns are in F, trumpets in D. The second movement, Andantino in B-flat major, gives the ornamented version of the theme first, in the strings. The trumpets in thirds, reinforced by the other winds, then give the unadorned version of the theme.
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"Let Us Move On" features guest vocals from rapper Kendrick Lamar. The opening track and lead single "No Freedom" opens with plaintive acoustic guitar and was penned with Rick Nowels, who previously wrote the major hit "White Flag" (2003). Guitars strum gently, the tempo is mid, and Dido informs her man that their relationship can't flourish unless she's free to wander. On the title track, synthesizer chords puff gentle syncopations as Dido wishes she could be "the girl who got away", shifting and twirling in a slow dance through electronic caresses and the subtlest touches of strings.
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"Less Than Zero" fits in with a number of others on early Costello albums that deal with themes of fascism and totalitarianism, which also include "Night Rally" from This Year's Model and "Goon Squad" from Armed Forces. In this case, a racist and totalitarian movement is seen in terms of sub rosa teenage sex: "Turn up the TV...even your mother won't detect it/So your father won't know." Allmusic critic Mark Deming describes the melody as "slow, slinky [and] sinister". Deming also suggests that the melody shows some reggae influences, even though the rhythm does not incorporate reggae syncopations.
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Adams is currently a dancer with the English National Ballet. She joined the English National Ballet in 2014 and was promoted to First Artist in 2017. In January 2018, Adams won the Emerging Dancer Competition. In 2017, Adams was invited to take part in the Kenneth MacMillan – A National Celebration at the Royal Opera House, dancing the Calliope Rag in Elite Syncopations with dancers from The Royal Ballet and Northern Ballet. She has also danced the Chosen One in Pina Bausch’s Le Sacre du printemps (The Rite of Spring), Stepsister Edwina in Christopher Wheeldon’s Cinderella and a lead sylph in La Sylphide.
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The "Swipesy Cakewalk" is a ragtime composition written in 1900 by a musical duo consisting of the notable ragtime master Scott Joplin, who composed the trio, and the young composer Arthur Marshall, who composed the rest of the piece. "Swipesy" uses the simple syncopations of a cakewalk - the first beat being a sixteenth, eighth, sixteenth note division, and the second beat an even eighth note division. The style follows the AA BB A CC DD musical form common for both cakewalks and rags, particularly after the earlier publication of Joplin's hit "Maple Leaf Rag". Only the C section, composed by Joplin, departs from the cakewalk rhythm and is more pure ragtime.
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He performed the leading roles of princes, gallants, and swains in the nineteenth-century classics—partnering such luminaries as Margot Fonteyn, Jennifer Penney, and Merle Park—but he was best known for his work in the twentieth-century repertory.Craine and Mackrell, "Eagling, Wayne," in The Oxford Dictionary of Dance (2000). A favorite of renowned British choreographer Kenneth MacMillan, he created roles in a number of his works, including Elite Syncopations, a suite of ragtime dances, and Gloria, an elegiac work about the futility of war. He danced the role of Crown Prince Rudolf in the New York premiere of MacMillan's Mayerling in April 1983.
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His Kenneth MacMillan repertoire includes Tybalt and Romeo in Romeo and Juliet, Rasputin in Anastasia, Lescaut in Manon, Elite Syncopations, Winter Dreams and Rudolf in Mayerling', Requien, (el Pepe) in Las hermanas His Frederick Ashton repertoire includes the Thaïs Medatition as de deux, Orion in Sylvia, Colas in La fille mal gardée, Birthday Offering Pas de deux and Awakening Pas de deux,the Prince in Cinderella He has also created roles in David Bintley's Les Saisons, Will Tucket's The Seven Deadly Sins, Liam Scarlett's Sweet Violets and Wayne McGregor's Raven Girl. Nowadays, his agenda includes performances as a guest artist in the US, Japan, Korea, China, Argentina, Russia, and France.
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Gamelan gong kebyar is a style or genre of Balinese gamelan music of Indonesia. Kebyar means "to flare up or burst open", and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export. Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.
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An "original Broadway cast" recording was produced. Because of the lack of national exposure given to the brief Morehouse College staging of the opera in 1972, many Joplin scholars wrote that the Houston Grand Opera's 1975 show was the first full production. 1974 saw the Birmingham Royal Ballet under director Kenneth MacMillan create Elite Syncopations, a ballet based on tunes by Joplin and other composers of the era. That year also brought the premiere by the Los Angeles Ballet of Red Back Book, choreographed by John Clifford to Joplin rags from the collection of the same name, including both solo piano performances and arrangements for full orchestra.
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"Alice in the looking glass", Globe and Mail, 21 February 1992, p. C4) and Symphony in C (third movement),Kelly, Deirdre. "Alleyne hits the big league with a witty feast of imagery", Globe and Mail, 25 November 1988, p. D11 Kenneth MacMillan's Elite Syncopations, Song of the Earth (the Man)Littler, William. "National still renting Makarova's Paquita", Toronto Star, 28 February 1991, p. D1 and Concerto,Nicol, Wendy. "Ballet Group Puts On Enthusiastic Performance", Kingston Whig-Standard, 17 May 1989, p. 1 Glen Tetley's Sphinx (Oedipus), Alice (White Rabbit),Littler, William. "Tetley pulls second white rabbit from hat", Toronto Star, 26 November 1987, p.
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She joined Boston Ballet in 1999 as a corps de ballet, was promoted to soloist in 2001 and principal in 2003. She joined The Royal Ballet in August 2004 as a first soloist and was promoted to principal in 2006. Lamb's repertory includes the roles of: Sylphide (La Sylphide), Marie Larisch (Mayerling), Tatiana and Olga (Onegin), Thaïs pas de deux, Masha (Winter Dreams), Voluntaries, Polyphonia, The Grey Area, Afternoon of a Faun, Chroma, Infra, Tanglewood, Sylvia, Stop Time Rag Girl (Elite Syncopations), white girl and blue girl (Les Patineurs), Fin du Jour, Alice (Alice's Adventures in Wonderland), Princess Belle Rose (The Prince of the Pagodas) and Human Seasons, Manon (L'histoire de Manon).
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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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Of the six established tabla gharanas or schools of tabla playing, the Benares Gharana, of which Bose belongs, has been the most staunch in its refusal to compromise the traditions when moving into more lucrative contemporary fusions. While criticised decades ago for his rigidity and refusal to adapt modern fusion and film music, Bose is now credited with preserving classical musical style and philosophy. He has kept the tradition of the Benares Gharana by subtly balancing the warm bass tones of the bayan with the higher-pitched crisp tones and syncopations of the dayan. Many of Bose's compositions have been written to accompany the rhythmical movements of kathak dancers and are a speciality of the Benares tradition.
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Harmonically it outlines a bluesy I9 chord (with the flat > seventh!). Rhythmically, it places hard syncopations on the eighth note > preceding both the first and third beat of the second measure, while its > final three eighth notes provide momentum that effectively leads into the > repeat. Musicologist Walter Everett highlights the riff as an example of the Beatles drawing inspiration from other artists and improving on the source material. He sees the "Day Tripper" riff as a combination of the ostinatos heard on Motown recordings such as the Temptations' "My Girl", Barrett Strong's "Money (That's What I Want)" and Marvin Gaye's "I'll Be Doggone", while also incorporating a rockabilly element that recalls Roy Orbison's "Oh, Pretty Woman".
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A different aesthetic was in place during the session, as Bill Evans' first rhapsodic, impressionistic chords on "On Green Dolphin Street" highlighted the mid-tempo track, while Jimmy Cobb's brush technique grooved behind Davis' trumpet solo. John Coltrane and "Cannonball" Adderley doubled and tripled-up their syncopations over Paul Chambers' transparent counterpoint, as Cobb and Evans pealed away on their instruments, sharing solos with Davis, Addeley and Coltrane. The contrast between hot melodic variations and cool, laid back swing gave the whimsical "Fran Dance" (according to Ira Gitler's liner notes, the song was named after Davis' wife Francis), the romantic "Stella by Starlight", and the jumping "Love for Sale" their elemental tension. This contrast represented Davis' transitional stage between bebop and modality; standard chords and musical variety.
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Often referred to in the West as "authentic / Dominican" bachata, the original social dance was created in the Dominican Republic during the 1960s and was danced only in closed position, like the bolero, often in close embrace. Bachata basic steps are performed by moving within a small square (side, side, forward and then tap with your toes, then side, side, back and tap). This step was inspired by the bolero basic step, but evolved over time to include a tap and syncopations (steps in between the beats), helping dancers express the more dynamic music being commonly played. The hand placement can vary according to the position of the dances, which can range from very close to open to completely open.
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His first book, published in 2003, was Les lieux et les choses qui entouraient les gens désormais. According to comics critic Thierry Groensteen, « […] It is not surprising that Manouach is also a jazz musician. His storytelling is entirely built as a succession of drone sounds, melodic lines, disjunctions, syncopations and improvisations and variations around a main theme ». In several later projects such as The Horse-Headed Statue, designed for an international architecture symposium in Greece in 2007, Écologie Forcée, a work commissioned by the :fr:Biennale d'Art contemporain du Havre in 2010 and Both Sides of a Wall, produced for the :fr:Festival de BD à Sierre in 2011, he uses exhibition space as a way to engage the spectator as the reader.
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Theme of the scherzo movement Trio section of the scherzo Cobbett describes the third movement as the "dance of the demon fiddler". There is indeed something demonic in this fast-paced scherzo, full of syncopations and, like the other movements, dramatic leaps from fortissimo to pianissimo. The scherzo is designed as a classical minuet: two strains in time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically Schubertesque melody, with the first violin playing a dancing descant above the melody line in the lower voices, then the viola takes the melody as the first violin plays high eighth notes.
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Mathcore emphasizes complex and fluctuant rhythms through the use of irregular time signatures, polymeters, syncopations and tempo changes, while at the same time the drummers play with overall loudness. In the words of The Dillinger Escape Plan bassist Liam Wilson, their "choppy rhythms that people get kind of tongue-twisted on" are "Latin rhythms" mixed with the speed and "stamina" of heavy metal, drawing a parallel between them and John McLaughlin's use of Eastern sounds within a jazz context. Most pioneering mathcore drummers had jazz, orchestral or academic backgrounds, including Dazzling Killmen's Blake Fleming, Craw's Neil Chastain, Coalesce's James Dewees, Botch's Tim Latona, The Dillinger Escape Plan's Chris Pennie and Converge's Ben Koller. As with the rhythm section, the guitars perform riffs that constantly change and are seldom repeated after one section.
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It works because of its unity, not out of an accumulation of contrasting effects such as volume changes and syncopations." In the UK, journalist Penny Valentine, writing in Disc magazine, described the album as a return to form for the Byrds, before declaring that the band were "back where they belong with a sound as fresh as cream and sunflowers". Melody Maker was also enthusiastic about the album, commenting, "if you ignore this album you are not only foolish – but deaf!" Record Mirror awarded the album four stars out of five, while Allen Evans of the NME enthused: "This is an exciting album, at times brash and noisy ('So You Want to Be a Rock 'n' Roll Star', 'Have You Seen Her Face'), spooky (the science-fiction outer-space sounds on 'C.
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Bob Wills, who had performed in blackface as a young man, liberally used comic asides, whoops, and jive talk when directing his famous Texas Playboys. The Hoosier Hot Shots, Bob Skyles and the Skyrockets, and other novelty song artists concentrated on the comedic aspects, but for many up-and-coming white country musicians, like Emmett Miller, Clayton McMichen and Jimmie Rodgers, the ribald lyrics were beside the point. Hokum for these white rounders in the South and Southwest was synonymous with jazz, and the "hot" syncopations and blue notes were a naughty pleasure in themselves. The lap steel guitar player Cliff Carlisle, who was half of another "brother duet", is credited with refining the blue yodel song style after Jimmie Rodgers became the first country music superstar by recording over a dozen blue yodels.
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The chanson Belle, bonne, sage by Baude Cordier, an Ars subtilior piece included in the Chantilly Codex As often seen at the end of any musical era, the end of the medieval era is marked by a highly manneristic style known as Ars subtilior. In some ways, this was an attempt to meld the French and Italian styles. This music was highly stylized, with a rhythmic complexity that was not matched until the 20th century. In fact, not only was the rhythmic complexity of this repertoire largely unmatched for five and a half centuries, with extreme syncopations, mensural trickery, and even examples of augenmusik (such as a chanson by Baude Cordier written out in manuscript in the shape of a heart), but also its melodic material was quite complex as well, particularly in its interaction with the rhythmic structures.
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Odette/Odile in Swan Lake, Giselle, the Sugar Plum Fairy in The Nutcracker, Aurora in Sleeping Beauty, Nikiya, Kitri, Swanilda, The Firebird, Cinderella, Lise, Titania, Manon, Anastasia, Juliet (Ashton and MacMillan), Mitzi Caspar and Mary Vetsera in Mayerling, Irina, The Girl in The Invitation, The Judas Tree, Song of the Earth, Gloria, Requiem, Rhapsody, Elite Syncopations, Les Biches, Symphony in C, Apollo, Danses Concertantes, Etudes, Brünnhilde in Béjart's Ring, Carmen, Forsythe's Herman Schmerman and Ashton's The Leaves Are Fading, Swanilda in Coppélia. She has created roles in Bintley's Metamorphosis, The Snow Queen and Earth as part of Homage to The Queen, Bruce's Symphony in Three Movements and in Mr. Worldly Wise, Two-Part Invention, When We Stop Talking, Masquerade and most recently Wayne McGregor's Qualia, "Infra", and "Limen", Robert Garland's Spring Rites, Alastair Marriott's Tanglewood, Liam Scarlett's Despite and Wheeldon's DGV.
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" Pure Grain Audio called the album "a very accomplished piece of work in its entirety, encompassing a variation of styles and syncopations." Already Heard praised the musicianship, saying, "The playing on this record is unbelievable, Andreas Kisser is on fire throughout, Paulo Jr’s bass is heavy as hell and drummer Eloy Casagrande is stunning in his versatility. Tracks 9 and 6 were also praised, saying, "Vandals Nest" rips the listener's head clean off; Kisser's shredding is so sharp everything else is slow motion – killer. However, the one track that stands above is the absolutely massive 'Sworn Oath’, its cinematic orchestration and angular guitar lines cut into a pounding bass drum that leads into as epic a thrasher as you are likely to hear." My Global Mind said, "Let’s face it, our present day relies on machines.
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Whereas the finale symbolizes a cheerful man: > I have tried to sketch a man who storms thoughtlessly forward in the belief > that the whole world belongs to him, that fried pigeons will fly into his > mouth without work or bother. There is, though, a moment in which something > scares him, and he gasps all at once for breath in rough syncopations: but > this is soon forgotten, and even if the music turns to minor, his cheery, > rather superficial nature still asserts itself. Progressive tonality is demonstrated in the symphony; the first three movements are in descending thirds: B minor, G major, and E-flat minor, and the final movement springs out the D major chord. The second symphony, as in the first, still belongs to the tradition of Brahms and Dvořák, but more compact and concentrated with a simple but powerful finishing by an A major march.
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As a guitarist Perkins used finger picking, imitations of the pedal steel guitar, right-handed damping (muffling strings near the bridge with the palm), arpeggios, advantageous use of open strings, single and double string bending (pushing strings across the neck to raise their pitch), chromaticism (using notes outside of the scale), country and blues licks, and tritone and other tonality clashing licks (short phrases that include notes from other keys and move in logical, often symmetric patterns). A rich vocabulary of chords including sixth and thirteenth chords, ninth and add nine chords, and suspensions, show up in rhythm parts and solos. Free use of syncopations, chord anticipations (arriving at a chord change before the other players, often by an eighth-note) and crosspicking (repeating a three eighth-note pattern so that an accent falls variously on the upbeat or downbeat) were also in his bag of tricks.Perkins, p. 78.
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While the sisters specialized in traditional pop, swing, boogie-woogie, and novelty hits with their trademark lightning-quick vocal syncopations, they also produced major hits in jazz, ballads, folk, country, seasonal, and religious titles, being the first Decca artists to record an album of gospel standards in 1950. Their versatility allowed them to pair with many different artists in the recording studios, producing Top 10 hits with the likes of Bing Crosby (the only recording artist of the 1940s to sell more records than The Andrews Sisters), Danny Kaye, Dick Haymes, Carmen Miranda, Al Jolson, Ray McKinley, Burl Ives, Ernest Tubb, Red Foley, Dan Dailey, Alfred Apaka, and Les Paul. In personal appearances, on radio and on television, they sang with everyone from Rudy Vallee, Judy Garland, and Nat "King" Cole, to Jimmie Rodgers, Andy Williams, and The Supremes. Some of the trio's late-1930s recordings have noticeable Boswell Sisters vocal influences.
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Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines. Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B while another subset would sing the raised pitches of F or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded . Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed musica ficta, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between an F and an F or a B and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.
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Hassenboehler's classical repertoire includes: the Sugar Plum Fairy in The Nutcracker, Aurora and Lilac Fairy in The Sleeping Beauty, Odette/Odile in Swan Lake, Giselle and Myrtha in Giselle, Kitri in Don Quixote, Juliet in Romeo and Juliet, title roles in The Firebird, Cleopatra, Cinderella, and Madame Butterfly, Coupava in The Snow Maiden, Manon and Lescaut’s Mistress in Manon, and the ballerina in Harold Lander’s Etudes. She has had featured roles in both classical and contemporary works, including: Adam’s Ketubah; Balachine’s The Four Temperaments, Theme and Variations, Serenade, Apollo, and Western Symphony; Bruce’s Ghost Dances, Sergeant Early’s Dream, and Rooster; Forsythe’s In the middle, somewhat elevated; Kylian’s Sinfonetta and Forgotten Land; Lefar’s Suite en Blanc; McIntrye’s Skeleton Clock, Bound, and Second Before the Ground; McMillan’s Elite Syncopations; Morris’s Sandpaper Ballet; Tetley’s Lux in Tenebris and Rite of Spring; Stevenson’s Alice in Wonderland, Peer Gynt, Four Last Songs, Twilight, and Five Poems; Welch’s Swan Lake, Indigo, Bruiser, Divergence, Nosotros, Velocity, Play, Tales of Texas, Garden of Mirth, and Maninyas.
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Initially part of the corps de ballet, Ellis quickly progressed to solo roles such as Princess Florine in Sleeping Beauty, the Young Girl in Ashton's The Two Pigeons and Lise in another Ashton ballet, La fille mal gardée. It was during this time that she met and fell in love with her future husband Michael Somes. Ellis later danced in many Royal Ballet productions, with notable main/leading parts in ballets by Ashton (Cinderella, La fille mal gardée, Symphonic Variations, The Dream, Enigma Variations, A Month in the Country, Jazz Calendar, Les Patineurs, A Wedding Bouquet, Façade), alongside roles in his Les Rendezvous, Scènes de ballet, Birthday Offering, La Valse and Monotones I). She danced main roles in the ballets of Sir Kenneth MacMillan (Romeo and Juliet, Mayerling, Gloria), with the role of Princess Stephanie in Mayerling , and her role in Gloria , created for her by MacMillan. Among the other MacMillan works, she performed in The Rite of Spring, The Invitation, Song of the Earth, Elite Syncopations and My Brother, My Sisters.
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She has created roles for ballets, including: Bintley's Titania in The Shakespeare Suite, Annunciation in The Protecting Veil, Wild Girl in the Beauty and the Beast, Kim Brandstrup's Pimpinella in Pulcinella, Lila York's Sanctum, Stanton Welch's Powder and Luciano Cannito's Te voglio bene assaje. Her principal repertory: Giselle (title role), Romeo and Juliet (Juliet), the Sleeping Beauty (Aurora), Swan Lake (Odette/Odile), the Nutcracker (Sugar Plum Fairy), Coppélia (Swanilda), Don Quixote (Kitri), la Fille mal gardée (Lise), Cinderella (title role), Bournonville's Napoli (title role), le Corsaire, Diana and Actaeon pas de deux, Paquita, la Bayadère, Études (leading role), Graduation Ball, Elite Syncopations ('Calliope Rag'), Solitaire (Polka Girl), The Two Pigeons (Young Girl), Voices of Spring, The Walk to the Paradise Garden, Enigma Variations (Dorabella), Apollo (Polyhymnia), Symphonic Variations, Serenade, Symphony in Three Movements, The Four Temperaments (Sanguine Variation), Concerto barocco, Square Dance, Tchaikovsky pas de deux, Tarantella, Western Symphony, Bintley's Far from the Madding Crowd (Bathsheba), Edward II (Isabella), Arthur (Guinevere), Beauty and the Beast (Belle), Hobson's Choice (Vickey Hobson, Salvation Army), Carmina burana (Lover Girl), Choros, Dance House, The Seasons ('Spring'), Twyla Tharp's In the Upper Room and van Manen's Five Tangos.
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