Ratmansky is famous for the lovely complications of his dances: the not quite unisons, not quite symmetries, the steps occurring not quite on the beat.
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Erika Grimaldi, soprano, and Daniela Barcellona, mezzo-soprano, were strong and impressive individually but almost more so together, their voices matching uncannily in unisons, octaves and close harmony.
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" J.P. The voices are gentle, sharing unisons and then harmonizing with wistful, enigmatic tidings: "I miss you already/you were too gone too soon/I can't understand you/The phone is gone.
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Among the most important and characteristic playing techniques for the Welsh triple harp is that of unisons or "Split doubling". The effect of unisons is obtained by playing the same note on both the outside rows using the right and left hands in rapid succession. Thus a progression of e.g., C-D-F-E, is achieved by playing CC-DD-FF-EE.
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Major and minor intervals on C. , , , , , , , As shown in the table, a diatonic scale defines seven intervals for each interval number, each starting from a different note (seven unisons, seven seconds, etc.). The intervals formed by the notes of a diatonic scale are called diatonic. Except for unisons and octaves, the diatonic intervals with a given interval number always occur in two sizes, which differ by one semitone. For example, six of the fifths span seven semitones.
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Within a diatonic scale, unisons and octaves are always qualified as perfect, fourths as either perfect or augmented, fifths as perfect or diminished, and all the other intervals (seconds, thirds, sixths, sevenths) as major or minor.
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Harmonically, augmented unisons are quite rare in tonal repertoire. In the example to the right, Liszt had written an E against an E in the bass. Here E was preferred to a D to make the tone's function clear as part of an F dominant seventh chord, and the augmented unison is the result of superimposing this harmony upon an E pedal point. In addition to this kind of usage, harmonic augmented unisons are frequently written in modern works involving tone clusters, such as Iannis Xenakis' Evryali for piano solo.
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Unisons, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a minor chord "sounds darker than a major chord".Kamien, Roger (2008). Music: An Appreciation, 6th Brief Edition, p. 46\. .
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Rava loves to duel with him, in loose unisons and cacophonous contrapuntal joint ventures. But collective improvisation, exciting when used judiciously for contrast, is limiting when it is overdone. It precludes the strong soloists here from truly soloing. It prevents Rava from fully exploring the potential of his new relationship with Diodati.
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As with the mandolin and mandola, the octave mandolin has four courses of two strings each. The two strings in each course are tuned in unison. Alternate tunings exist in which the strings in some courses are tuned to octaves, rather than unisons, but this is more typical of the Irish Bouzouki.
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Augmented unison on C. Augmented unisons often appear as a consequence of secondary dominants, such as those in the soprano voice of this sequence from Felix Mendelssohn's Song Without Words Op. 102 No. 3, mm. 47–49. The augmented unison, the interval produced by the augmentation, or widening by one-half step, of the perfect unison,Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.54. .
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Some instruments are employed with sympathetic strings—which are additional strings not meant to be plucked. These strings resonate with the played notes, creating additional tones. Sympathetic strings vibrate naturally when various intervals, such as the unisons or the octaves of the notes of the sympathetic strings are plucked, bowed or struck. This system is used on the sarangi, the grand piano, the hardanger fiddle and the rubab.
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Within a diatonic scale all unisons (P1) and octaves (P8) are perfect. Most fourths and fifths are also perfect (P4 and P5), with five and seven semitones respectively. One occurrence of a fourth is augmented (A4) and one fifth is diminished (d5), both spanning six semitones. For instance, in a C-major scale, the A4 is between F and B, and the d5 is between B and F (see table).
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37 This alternation between opposites is observed again in a review of "Vermont Poems" and its harmonic reliance on "shifts between unisons and dissonants" Review of Vermont Poems, Susan Hurley, Chorus! Magazine The range of the instruments used by Hurley is broad, including ancient and subtle instruments such as the clavichord and older compositional vehicles such as the chamber opera. Hurley wrote one such opera based on the lives of Anaïs Nin and Rupert Pole.
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Northeastern University offers students the opportunity to join various Ethnic, Cultural, and Political organizations along with numerous honor societies, special interest groups, fraternities, and sororities. Northeastern University hosts six student-run a cappella groups on campus: three mixed ensembles (Distilled Harmony, The Downbeats, and The Nor'easters), two treble ensembles (Pitch, Please! and Treble on Huntington), and one TTBB ensemble (UniSons). All groups regularly compete in the International Championship of Collegiate A Cappella (ICCA).
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17 - but were published as Op. 44 in 1804. The theme is a series of simple unadorned arpeggios in octave unisons by all three players. Beethoven then develops fourteen variations, decorative in the tradition of the eighteenth century but with contrasting spirit and textures employed. The tenth variation, syncopated and vigorous, is followed by an almost exaggeratedly reserved dialogue while the twelfth variation's gentle ambling is interrupted by a burst of coarse fortissimo.
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In the earliest pianos whose unisons were bichords rather than trichords, the action shifted so that hammers hit a single string, hence the name una corda, or 'one string'. The effect is to soften the note as well as change the tone. In uprights this action is not possible; instead the pedal moves the hammers closer to the strings, allowing the hammers to strike with less kinetic energy. This produces a slightly softer sound, but no change in timbre.
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Tallis's first known musical appointment was in 1532 as organist of Dover Priory, a Benedictine priory in Kent. His career took him to London, then to Waltham Abbey in the autumn of 1538, a large Augustinian monastery in Essex which was dissolved in 1540. He was paid off and acquired a book about music that contained a treatise by Leonel Power which prohibits consecutive unisons, fifths, and octaves. Tallis served at Canterbury Cathedral in Kent Tallis's next post was at Canterbury Cathedral.
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A guitalin () is a Northern American folk instrument that is a part of the lute family, having four courses of strings. Its fourth course is tuned to an octave while the remaining courses are tuned in unisons. The instrument can be either finger picked or plucked with a plectrum. It was invented in October 1962 by Lyle Mayfield of Greenville, Illinois.Daily Illini (University of Illinois), Saturday, November 10, 1962, p. 1 Daily Illini (University of Illinois), Friday, September 20, 1963, p.
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Lidström's compilation of orchestral excerpts for Boosey & Hawkes, The Orchestral Cellist, formed the basis for his publishing company CelloLid.com. The Essential Warm-up Routine for Cellists gives practical guidance and daily warm-up exercises to support all facets of cello-playing. The Beauty of Scale (made possible through a research grant from the Royal Academy of Music) explores the standard scales and contains chapters on alternative scales such as pizzicato, unisons, 4ths and 7ths, and also on how to practise scales.
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Horne composes concertos, orchestral, ensemble and chamber music, operas, and songs. He received the Yorkshire Arts Association Young Composers' Competition at the Huddersfield Contemporary Music Festival for his composition Splintered Unisons, which was performed by the Prometheus Ensemble. In 1994 he was awarded a Stephen Oliver Prize for his opera Travellers. He has received commissions for compositions by soloists such as percussionist Evelyn Glennie (Reaching Out and Ignition), violist Nobuko Imai (Stilled Voices), and pianist Boris Berezovsky (Liszt), as well as a Koussevitzky Commission in 1995.
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A Puerto Rican cuatro The cuatro is the national instrument of Puerto Rico. Larger than a mandolin, it contains ten strings which generate complex tones and multiple harmonic series. The Puerto Rican cuatro spans five courses, tuned in fourths from low to high B-e- a-d'-g',54321, with B and E in octaves and A, D and G in unisons. Yomo Toro and his cuatro music became internationally known, when he performed the opening theme song to the 1971 Woody Allen film Bananas.
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An Irish bouzouki Although not traditional, the Irish bouzouki has found a home in the modern Irish traditional music scene. The Greek bouzouki was introduced to Irish traditional music in the late 1960s by Johnny Moynihan and then popularised by Dónal Lunny, Andy Irvine, and Alec Finn. Today's Irish bouzouki (usually) has four courses of two strings (usually) tuned G2D3A3D4. The bass courses are most often tuned in unisons, one feature that distinguishes the Irish bouzouki from its Greek antecedent, although octaves in the bass are favoured by some players.
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After the British premiere, Sadie described the piece as "a fascinating product of the contact between two musical minds". In The Guardian Edward Greenfield said that the work broke new ground in the spareness of the harmony: "The familiar Waltonian lines of melody are there, but at the opening and in the first two improvisations it is as though Walton was deliberately imitating Britten in preferring bare unisons to his usual rich texture. Only in the third of the five improvisations does Walton start piling on his characteristic added notes."Greenfield, Edward.
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Similarly, major semitones and minor semitones are more often and more appropriately referred to as minor seconds (m2) and augmented unisons (A1), or diatonic and chromatic semitones. Unlike almost all uses of the terms major and minor, these intervals span the same number of semitones. They both span 2 semitones, while, for example, a major third (4 semitones) and minor third (3 semitones) differ by one semitone. Thus, to avoid ambiguity, it is preferable to call them greater tone and lesser tone (see also greater and lesser diesis).
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It was undoubtedly a kind of harp or psaltery, since in an instrument of so many strings some must have been of different lengths, for tension and thickness only could hardly have produced forty different sounds, or even twenty, supposing that they were arranged in pairs of unisons. Strings of varying lengths require a frame like that of the harp, or of the Egyptian cithara which had one of the arms supporting the cross bar or zugon shorter than the other, notes for an illustration, see Kathleen Schlesinger, Orchestral Instruments, part ii. "Precursors of the Violin Family", fig. 165, p. 219.
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A popular hymn, still sung in the churches, was first recorded in the late . It hails King St. Stephen as "radiant star of Hungarians". Ludwig van Beethoven composed his King Stephen Overture for the inauguration of the Hungarian theatre in Pest in 1812. According to musician James M. Keller, "[t]he descending unisons that open the King Stephen Overture would seem to prefigure the opening of the Ninth Symphony [a]nd then a later theme, introduced by flutes and clarinets, seems almost to be a of the famous Ode 'To Joy' melody of the Ninth Symphony's finale".
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The Allmusic review by V. Vasan stated "This album, unfortunately, is not so exciting and does not live up to its potential. Played by the German Youth Orchestra (BJO) along with composer Rabih Abou- Khalil on the oud and two other soloists, the music seems to neither move nor be adequately programmatic. ... overall, the music does not come alive due to the combination of the music itself (with a heavy use of unisons, even taking cultural differences into account) and an orchestra that is not experienced enough to give the music more shape. ... Trouble in Jerusalem just does not make for an inviting musical experience".
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The Penguin Guide to Jazz awarded it the maximum five stars, as well as the special "crown" accolade in the first and second editions. According to the authors: "Dialogue stands head and shoulders above [Hutcherson's other classic Blue Note dates]. Drawing on some of the free-harmonic and -rhythmic innovations developed on Eric Dolphy's Out to Lunch (on which Hutcherson played), he began to develop a complex contrapuntal style that involved parallel melodies rather than unisons and complex rhythmic patterns which he conceived... as focal points round which the musicians operated."Richard Cook and Brian Morton, The Penguin Guide to Jazz on CD, LP & Cassette, 1st ed.
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In the previous two games, players earned different colored stars on the title screen for completing certain tasks. Battle Network 4 replaces these with badges (sometimes called icons or marks instead) on the top of the title screen, and continues these for the remainder of the series. Battle Network 4 includes seven icons, one for defeating the final boss Duo, one for getting all Soul Unisons, one for collecting all Standard-level battlechips, one for all Mega-level chips, one for all Giga-level chips, one for completing all Program Advances, and the last for defeating Bass (Forte in Japanese) in his Omega form.
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The Cuban tres is significantly smaller than the Spanish guitar, with a scale length between and .The Stringed Instrument Database It has three courses (groups) of two strings each for a total of six strings. From the low pitch to the highest, the principal tuning is in one of two variants in C Major, either: G4 G3, C4 C4, E4 E4 (top course in unisons), or more traditionally: G4 G3, C4 C4, E3 E4 (top course in octaves). Note that when the octave tuning is used, the order of the octaves in the first course is the reverse of the order in the third course (low-high versus high-low).
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200px The gospel musician Washington Phillips was thought to have played the dolceola on several of his recordings, but he actually played a compound instrument he fashioned out of two East Boston Phonoharp Company celestaphones, but with the hammer-keyboard removed. It consisted of two chord zithers, attached side by side, one of which had four chords, the other of which had five. He played them with his fingers, as other zither players do. Having nine chords to choose from, he also had fifteen courses of melody strings, which he contrived to tune in octaves rather than in unisons, thus giving him the "angelic" sound he was famous for.
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"There is no such thing as a diminished unison, because no matter how you change the unisons with accidentals, you are adding half steps to the total interval." Melodically, an augmented unison very frequently occurs when proceeding to a chromatic chord, such as a secondary dominant, a diminished seventh chord, or an augmented sixth chord. Its use is also often the consequence of a melody proceeding in semitones, regardless of harmonic underpinning, e.g. D, D, E, F, F. (Restricting the notation to only minor seconds is impractical, as the same example would have a rapidly increasing number of accidentals, written enharmonically as D, E, F, G, A). Franz Liszt's second Transcendental Etude, measure 63.
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A Puerto Rican Cuatro The Puerto Rican cuatro is shaped more like a viola than a guitar, and is the most familiar of the three instruments of the Puerto Rican orquesta jíbara (i.e., the cuatro, the tiple and the bordonua). The Puerto Rican cuatro has ten strings in five courses, tuned in fourths from low to high, with B and E in octaves and A, D, and G in unisons: B3+B2 E4+E3 A3+A3 D4+D4 G4+G4. Several sizes of the instrument exist, including a cuatro soprano, cuatro alto, cuatro tradicional (the standard instrument, also called cuatro tenor), and cuatro bajo (bass): All have 10 strings and are tuned in fourths.
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Like the Replicas album as a whole, "Down in the Park" marked a major shift from Tubeway Army's previous output. The band's early releases, the 1978 singles "That's Too Bad" and "Bombers" plus the self-titled debut album, contained elements of punk, hard rock, heavy metal and new wave but were exclusively guitar driven with only occasional use of primitive synthesizer effects. "Down in the Park", on the other hand, was Numan's first composition on keyboards and his first release to feature the predominantly electronic sound that became his trademark. Musically, it pared down still further the guitar power chord and bass root note style arrangements he had used previously, reducing the harmony to bare unisons of layered bass guitar, Fender Rhodes electric piano, and Polymoog synthesizer.
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In twelve-tone equal temperament, an interval vector has six digits, with each digit representing the number of times an interval class appears in the set. Because interval classes are used, the interval vector for a given set remains the same, regardless of the set's permutation or vertical arrangement. The interval classes designated by each digit ascend from left to right. That is: # minor seconds/major sevenths (1 or 11 semitones) # major seconds/minor sevenths (2 or 10 semitones) # minor thirds/major sixths (3 or 9 semitones) # major thirds/minor sixths (4 or 8 semitones) # perfect fourths/perfect fifths (5 or 7 semitones) # tritones (6 semitones) (The tritone is inversionally equivalent to itself.) Interval class 0, representing unisons and octaves, is omitted.
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The composer Alvin Lucier has written many pieces that feature interference beats as their main focus. Italian composer Giacinto Scelsi, whose style is grounded on microtonal oscillations of unisons, extensively explored the textural effects of interference beats, particularly in his late works such as the violin solos Xnoybis (1964) and L'âme ailée / L'âme ouverte (1973), which feature them prominently (note that Scelsi treated and notated each string of the instrument as a separate part, so that his violin solos are effectively quartets of one-strings, where different strings of the violin may be simultaneously playing the same note with microtonal shifts, so that the interference patterns are generated). Composer Phill Niblock's music is entirely based on beating caused by microtonal differences.
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310 Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing in 1958, the critic Rudolph Reti summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy pedal points – "not merely bass pedals in the actual sense of the term, but sustained 'pedals' in any voice"; glittering passages and webs of figurations which distract from occasional absence of tonality; frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non- functional harmonies; bitonality, or at least bitonal chords; use of the whole-tone and pentatonic scales; and unprepared modulations, "without any harmonic bridge". Reti concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality".
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Giulio, in the opening of the game. Details about Gungnir and its development first emerged in JaJa's blog as early as May 2009, where it was referred to by the code name "9th". However, while 34 entries were posted over the course of May and June of that year featuring development talk and occasional postings of concept artwork, JaJa's blog went silent after that time. While Sting initially projected that the game would be released in late 2010, no more was said about it during the development of Yggdra Unisons DS remake, Hexyz Force, the PSP version of Knights in the Nightmare, and Blaze Union, which were developed and released from late 2009 to mid-2010. The project resurfaced in February 2011 with an announcement in Famitsu magazine, followed by the appearance of a teaser site maintained by Sting and hosted on Atlus' domain. On February 24, JaJa uploaded his first post in two years, confirming Gungnir as Dept.
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