No footnotes date February 2012 Style bris French broken style is a term for broken, Arpeggio arpeggiated texture in instrumental music. It usually refers to France French Baroque music for lute , keyboard instrument s or the viol . French Baroque musicians referred to this type of texture as style luth lute style , since it originated in lute music. The earliest instance of the term style bris is found in scholar Lionel de La Laurencie s 1928 book on lute music, Les luthistes . La Laurencie may have simply translated the German equivalent which was in use since at least the early 18th century into French. The defining feature of style bris is the use of diverse, unpredictable ways of breaking up chord progression chordal progressions and melody melodies . This technique was first used by early French lutenists, and quickly gained popularity in France La Laurencie speaks of style bris of the Gaultiers , referring to Ennemond Gaultier c.1575&ndash 1651 and Denis Gaultier 1603&ndash 1672 . The first harpsichord ists to adopt style bris textures were Jacques Champion de Chambonni res c.1601&ndash 1672 and Johann Jakob Froberger 1616&ndash 1667 after them, virtually all French harpsichordists employed style bris and it became a defining feature of the lute and harpsichord schools of France. References GroveOnline Style bris Ledbetter, David 2 December 2006 music theory stub Category Baroque music Category Musical texture ... more details
Infobox Album See Wikipedia WikiProject Albums Name Chasin the Bird Type Live album Artist Miles Davis Cover Chasin the Bird.jpg Released August 15, 2000 Recorded Genre Cool Jazz Length 61 16 Label Arpeggio Blues Producer Reviews Last album This album Next album Chasin the Bird is a live album by Miles Davis released in 2000. Track listing Birth Of The Cool Theme Introduction Chasin The Bird Move Why Do I Love You Godchild Introduction Chasin The Bird S il Vous Plait Moon Dreams Budo Hallucinations Darn That Dream Move Moon Dreams Budo Hallucinations 52nd Street Theme Half Nelson You Go To My Head Chasin The Bird Personnel Denzil Best Composer J. Fred Coots Composer Miles Davis Composer, Trumpet Eddie DeLange Composer Gil Evans Composer Haven Gillespie Composer Kenny Pancho Hagood Vocals Oscar Hammerstein II Composer James Van Heusen Composer Jerome Kern Composer Lee Konitz Sax Alto John Lewis Composer Chummy MacGregor Composer Al McKibbon Bass Johnny Mercer Composer Thelonious Monk Composer Gerry Mulligan Sax Tenor Charlie Parker Composer Bud Powell Composer Max Roach Drums George Wallington Composer References Refs Miles Davis 2000s jazz album stub Category Miles Davis live albums Category 2000 live albums ... more details
Torre Bermeja is a composition by Isaac Alb niz . It is named after the Torre Bermeja tower Torre Bermeja on the Playa de la Barrosa in the Province of Cadiz. Since it has been transcribed for classical guitar by Miguel Llobet it has become an important work for classical guitar. It has been played and recorded by guitarists such as Andr s Segovia , Julian Bream , John Williams and many others. The piece is most distinctive for its rapid D Major and A7 arpeggios at the beginning before going into the key of D minor . ref name Tosone2000 cite book last Tosone first Jim title Classical guitarists conversations url http books.google.com books?id hgBOOU Y7xwC&pg PA164 accessdate 24 March 2012 date 1 October 2000 publisher McFarland isbn 978 0 7864 0813 9 page 164 ref Records in Review said about the piece, The Albeniz Torre bermeja, a piano work nowadays heard more frequently on the guitar, makes much of pizzicato , chordal runs, quick arpeggio passages, and harmonic s. ref name fidelity1980 cite book author High fidelity title Records in Review url http books.google.com books?id g2TgAAAAMAAJ accessdate 24 March 2012 year 1980 publisher Wyeth Press page 372 ref References Reflist External links http www.youtube.com watch?v 8ToEuCwrmpc&feature related Torre Bermeja , by John Williams classical music stub Category Compositions by Isaac Alb niz ... more details
Infobox person name Motomu Kiyokawa image Only freely licensed images may be used to depict living people. See WP NONFREE . birthname birth date Birth date and age 1935 04 09 birth place Kanagawa Prefecture , Japan death date Death date and age YYYY MM DD YYYY MM DD Death date then birth death place othername Kiyom occupation Actor , seiy yearsactive 1950 present spouse website awards nihongo Motomu Kiyokawa Kiyokawa Motomu born April 9, 1935 is a Japan ese actor and seiy from Kanagawa Prefecture . He is affiliated with the Tokyo Actor s Consumer s Cooperative Society . Voice roles The Big O Norman Burg BlazBlue Calamity Trigger Valkenhayn R. Hellsing BlazBlue Continuum Shift Valkenhayn R. Hellsing Cardcaptor Sakura Wei Wong Charlie and the Chocolate Factory film Charlie and the Chocolate Factory DVD edition Grandpa Joe Future GPX Cyber Formula series George Grayson and Jun Nakazawa Hellsing TV series Hellsing Walter C. Dornez Kare Kano Kawashima sensei Kikaider 01 Shadow Knight Mobile Suit Gundam Tem Ray Nadia The Secret of Blue Water Gargoyle Neon Genesis Evangelion TV series Neon Genesis Evangelion List of characters in Neon Genesis Evangelion Deputy Commander K z Fuyutsuki K z Fuyutsuki Nodame Cantabile Charles Auclair Pok mon Pryce Shakugan no Shana Ramii Shikigami no Shiro Munchausen Time of Eve Shimei Vampire Hunter D Doctor Feringo Vampire Hunter D Bloodlust John Elbourne Tokusatsu Himitsu Sentai Gorenger Jade Mask, Iron Princess Mask Battle Fever J Fireball Monster Dai Sentai Goggle V Pterano Mozoo Denji Sentai Megaranger Gama Nejire Kyuukyuu Sentai GoGo V Zombeast Mirai Sentai Timeranger Gougan Tokusou Sentai Dekaranger Monten Ultraman Leo Episode 39 Ultraman King and Alien Babarue Ultraman Mebius Alien Babarue Ultraman Mebius Ultraman Mebius Side Story Hikari Saga Hikari Saga Ultraman King and Alien Babarue Video games Sly 2 Band of Thieves List of Sly Cooper characters Arpeggio Arpeggio External links ann people id 950 IMDb name id 0457952 Per ... more details
Image Whole tone, lydian, and major scales.PNG thumb right 200px Whole tone audio Whole tone scale on A.mid Play , lydian audio Lydian mode A.mid Play , and major scales audio A major scale.mid Play on A. L isle joyeuse , List of compositions by Claude Debussy by Lesure Numbers L. 106 The Island of Pleasure is an extended solo piano piece by Claude Debussy composed in 1904. According to Jim Samson 1977 , the central relationship in the work is that between material based on the whole tone scale , the lydian mode and the diatonic scale , the lydian mode functioning as an effective mediator between the other two. Structure Image Lisle Joyeuse.png thumb right 300px L isle Joyeuse begins with a chromatically descending whole tone cadenza. citation needed date May 2012 audio Lisle Joyeuse.mid Play Exposition, 1 98 The introduction creates a whole tone context. This changes to an A lydian context which, in bars 15 21, transitions, through the addition of G natural, to the whole tone context of a new Motif music motive at bar 21. This A lydian context serves to transition from the whole tone mode on A to the A Major scale major context, inflected by occasional lydian D sharps, of the second theme music theme at bar 67. Middle, 99 159 The other transposition music transposition of the whole tone scale, avoided in the outer sections, is used and provides further harmonic contrast. Recapitulation, 160 end The second subject appears in pure A major, the ultimate tonal goal of the piece. The opening codas louder and more animatedly until the very end . It ends with a loud tremolo, a group of grace notes ascending to an A Major chord in the highest registers of the piano, and a quick, final arpeggio , the same arpeggio used to accompany the first use of the second subject, played downwards, hitting the lowest note on the keyboard A musical note A0 markedly. References Samson, Jim 1977 . Music in Transition A Study of Tonal Expansion and Atonality, 1900 1920 , p. 38. New Yor ... more details
Image Elektra chord.png thumb 250px Elektra chord E B Db F Ab. listen filename Elektra chord.ogg title Elektra chord description Elektra chord as arpeggio then simultaneously format Ogg Infobox Chord chord name Elektra chord first interval root chord root second interval perfect fifth third interval diminished seventh fourth interval minor second fifth interval diminished fourth The Elektra chord is a complexly consonance and dissonance dissonant signature chord music chord ref name Kramer Lawrence Kramer. Fin de si cle Fantasies Elektra , Degeneration and Sexual Science , Cambridge Opera Journal , Vol. 5, No. 2. Jul., 1993 , pp. 141 165. ref and motive music motivic elaboration used by composer Richard Strauss to represent the title character of his opera Elektra opera Elektra that is a polytonality bitonal synthesis of E major and C sharp major and may be regarded as a polychord related to conventional chords with extended harmony added thirds ref name Stuckenschmidt H. H. Stuckenschmidt Piero Weiss. Debussy or Berg? The Mystery of a Chord Progression , The Musical Quarterly , Vol. 51, No. 3. Jul., 1965 , pp. 453 459. ref , in this case an eleventh chord . Image Elektra chord extended.png thumb 400px center Elektra chord implies an E Major and C Major chord together C E G Db F Ab br listen filename Elektra chord extended.ogg title Each chord separately as arpeggio then both simultaneously In Elektra the chord, Elektra s harmony harmonic signature is treated various ways betraying both tonality tonal and bitonal leanings...a dominant music dominant 4 2 over a nonchord tone nonharmonic bass note bass . Like Elektra herself, this chord is both Monomania monomaniacal and wikt polymorphic polymorphic . It is associated as well with its seven note complement music complement which may be arranged as a dominant music dominant thirteenth ref name Kramer while other characters are represented by other motives or chords, such as Clytemnestra Klyt mnestra s contrasting harmo ... more details
see Four group Four note group patterns are one of many ways used to formulate musical improvisation improvised solo music solos in jazz . Four Note Grouping is an improvisation technique that uses major chord major and minor chord minor triads along with specific nonchord tone passing notes as a means of generating lines. The concept of Four Note Groupings allows the lines to be more Outside jazz out and stretch the possibility of available note music notes over a chord music chord due to the musical form structural integrity of the triad based melody line . ref http www.vicfirth.com artists video saindon fournotegroupingspart1.pdf Four Note Groupings Part 1 , EdSaindon.com 351 KB Portable Document Format PDF Ed Saindon. Caps in original. ref Jazz standard s are typically two quarter note quarter beats per chord progression change or four eighth notes . In order to play fluidly in double time double time it is necessary to develop practice strategies to fill out eighth note patterns. Patterns that are employed heavily in bebop and musical mode modal playing involve playing musical scale scale fragments in the key music key of the chord change, arpeggio arpeggiating the current chord change, or playing a bebop pattern or lick music lick . When scales are played they typically line up odd strong beats with chord tone s and even beats with non chord tones. These patterns are very obvious in the early solo career of John Coltrane and in reharmonized tunes from the bebop era. fact date April 2011 The Miles Davis tune Donna Lee is composed almost entirely of four note groups over its chord changes. fact date April 2011 Four note group patterns can also be doubled into 8 note patterns over the same time duration. Playing at quadruple time over the tempo requires many hours of solo practice and tune analysis. The solos of Charlie Parker contain many examples of four and eight note group patterns. fact date April 2011 Four note group devices Scale fragment Arpeggio fragment ... more details
. This simple melody is accompaniment accompanied by the arpeggio style chords played in the left ... with an arpeggio of F Major. The mood softens and a phrase is established which will be repeated 2 times in this key, but varied slightly by key. The first part slowly ends with the familiar arpeggio ... more details
wiktionary ARP arp Arp or ARP may refer to People Halton Arp born 1927 , American astronomer Jean Arp 1886 1966 , German French artist Sophie Taeuber Arp 1889 1943 , Swiss artist Axel Rudi Pell born 1960 , German guitarist Businesses and organizations Air Raid Precautions , a British civil defence organisation 1924 1946 Alaska Republican Party , the local branch of the Republican Party in the state of Alaska American Recording Productions , an Armenian and Middle Eastern traditional music label Anti Revolutionaire Partij , a Dutch political party ARP laboratory , a software development group for digital humanities Associate Reformed Presbyterian Church Music Arpeggiator , a feature found on sound synthesizers and virtual musical instruments Arpeggio , a broken chord in which notes are played or sung in succession rather than simultaneously ARP band , consisting of Mark Rae and Rhys Adams ARP Instruments, Inc. , early manufacturer of electronic music synthesizers ARP synthesizers , any synthesizer manufactured by ARP Instruments, Inc. ARP acronym Active Rollover Protection Address Resolution Protocol , a computer networking protocol ARP spoofing , a networking attack on Address Resolution Protocol Airport Reference Point , the approximate geometric center of all usable runways Area redevelopment plan , an urban planning tool provided in the Alberta Municipal Government Act Autoradiopuhelin car radio phone , in Finland, the first commercially operated public mobile phone network Aerospace Recommended Practice , guidelines for certification in the aviation industry by the Society of Automotive Engineers Other uses Arp, Texas Arp number , a numbering system for galaxies Arapaho language , a Native American language Arp2 3 complex , a protein Arp, a rosemary cultivar disambig ca ARP cs ARP de ARP es ARP eo ARP fr ARP ko ARP it ARP lv Arp noz mju atdal ana hu Arp egy rtelm s t lap nl ARP ja pl ARP ru ARP sv ARP ... more details
Infobox synthesizer Commented out because image was deleted image arplogo.jpg image caption ARP Instruments, Inc. Logo synth name Chroma synth manufacturer Fender Musical Instruments Corporation Fender Fender Rhodes Rhodes ARP Instruments, Inc. ARP synthesis type Analog synthesizer Analog Subtractive synthesis Subtractive polyphony 16 timbrality 2 oscillator filter attenuator left control lfo keyboard 64 key weighted memory ext control Apple II interface fx dates 1982 price The ARP Chroma is a model of polyphonic synthesizer developed in 1981 by ARP Instruments, Inc. just before that company s bankruptcy and collapse. The design was eventually released by Fender Musical Instruments Corporation Fender as the Rhodes piano Rhodes Chroma, and was one of the early microprocessor based Analog synthesizers . It was not the first commercial synth with a touch sensitive Musical keyboard keyboard , using 64 weighted wooden keys some units also included a polyphonic pressure sensor under the keys. The synthesizer had 16 channels normally used in pairs for 8 note polyphony. It was controlled via a panel consisting of multi purpose touch switches for selecting sounds or parameters of sound with a single slider for adjusting parameters. This approach was later copied by many more successful synths, such as the Yamaha DX 7 . The main microprocessor was a 68B09, and it had a computer interface consisting of a 25 pin D sub connector this was before the invention of MIDI . An Apple IIe interface card with sequencing software was released later on. Eventually, a third party came out with a Chroma to MIDI converter box. Fact date June 2008 Fender also released a keyboardless version called the Chroma Expander, which could be slaved to the Chroma via its computer interface. External links http www.rhodeschroma.com Site and community dedicated to the Rhodes Chroma http www.rhodeschroma.com ?id arpeggio ARP Chroma announcement Category ARP synthesizers Electronic musical instrument stub f ... more details
an on board up down up down arpeggiator capable of spanning three octaves. The arpeggio speed can ... for the arpeggio by sending a short duration loud audio signal for example a Roland TR 808 ... assign modes while in test mode. You can select a key assign mode with the arpeggio mode switch the switch has to be in the preferred position before powering up the Juno in test mode . Arpeggio mode ... more details
unreferenced date November 2006 Espa a Ca meaning Gypsy Spain in Spanish language is a famous instrumental Spanish music Spanish piece of pasodoble music by Pascual Marquina Narro 1873 1948 . The song was written around 1925. It is also known as the Spanish Gypsy Dance . ref http www.elrincondelpasodoble.com archivos Espanacani.htm Paso Doble Corner Spanish ref ref http translate.google.co.uk ?hl en&tab wT&q Cat C3 A1logo 20general 20de 20discos 20Odeon 2C 20junio 201931. auto en Machine Translation of above reference ref Its main refrain eight bars of arpeggio arpeggiated chord music chord s that go from E major to F major with added 4 instead of 5 to G major and back is arguably the best known snippet of Spanish music ever, and is popular worldwide. Besides its traditional use as background music in bullfighting bullfights in Spain and elsewhere, it is sometimes played refrain only to arouse local crowds in baseball matches in the United States . The Beatles in their early club days in Liverpool played the song. It is often used by the Hawthorne Caballeros Drum and Bugle Corps , and the Muchachos Drum and Bugle Corps of Manchester, NH as a closer. Several arrangements of the tune are often used for the ballroom dance ballroom Paso Doble dance to the point that, amongst ballroom dancers, it is known as the paso doble song as it is very commonly played in competition due to the need for specific choreography for successful competition Paso . It is also a chant supporters of Eskisehirspor S per Lig Turkey see this video http www.youtube.com watch?v 65ng KULXKI&feature related youtube References Reflist Category Instrumentals Category Spanish music Category Charo songs Category Drum and bugle corps es Espa a ca fr Espa a Ca i nl Espa a ca no Espa a Ca ... more details
File Lupack Butter 250g unsalted UK market.JPG right thumb 300px Lurpak is a Denmark Danish brand of butter owned by the Danish Dairy Board. It is sold in over 80 countries worldwide ref cite web url http www.lurpak.dk C1256ED9004B44F5 O UWEN62WJ94 title LURPAKs eksport language Danish work Lurpak.dk accessdate 2009 11 30 ref and is best known for its distinctive silver packaging. ref http www.superbrands.uk.com programmes issues 9 sb09 lurpak.pdf ref Lurpak started in 1901 as a combination of several Danish dairy farmers to create a common brand for butter to increase sales. Product Range Lurpak Slightly Salted Butter Lurpak Lighter Spreadable Lurpak Lightest Spreadable Lurpak Organic Spreadable Lurpak Unsalted Lurpak Spreadable Slightly Salted Butter Lurpak With Crushed Garlic Advertising Campaigns In 1985 Lurpak launched a UK TV campaign featuring Douglas, a trombone trombonist made from butter, trying to play a fast arpeggio. This was created by Aardman Animations and featured the voice of Penelope Keith , with the intro to the Agnus Dei from Faure s Requiem as background music. This ran for almost 20 years, until Lurpak repositioned with the Good Food Deserves Lurpak campaign, created by Wieden Kennedy and featuring the voice of Rutger Hauer . ref http wklondon.typepad.com welcome to optimism 2007 03 we salute you b.html ref ref cite news url http www.guardian.co.uk lifeandstyle wordofmouth 2009 apr 24 lurpak advert butter work The Guardian location London title AdWatch Lurpak can t butter us up first Tony last Naylor date 2009 04 24 accessdate 2010 05 11 ref References reflist External links http www.lurpak.dk Official site http www.lurpak.co.uk Lurpak UK site http www.bakeclub.co.uk Lurpak Bake Club UK site http www.youtube.com lurpakbutter YouTube Channel Butter Category Danish brands Category Brand name dairy products Food product stub ar da Lurpak ... more details
Song infobox Name Rubina Cover Artist Joe Satriani Album Not of This Earth Joe Satriani album Not of This Earth Released 1986 track no 3 Recorded 1985 Genre Instrumental rock Length 5 50 Label Relativity Records Writer Joe Satriani Producer Joe Satriani br John Cuniberti prev The Snake prev no 2 next Brother John next no 4 Rubina is a song by guitarist Joe Satriani , featured on his debut album and named after his artist wife , Not of This Earth Joe Satriani album Not of This Earth , released in 1986. It is the third track on the album and the recorded album version is 5 minutes 50 seconds in length. The track is notable for the use of the harmonics technique by Satriani. An emotional ballad, the chord progression is G major to E minor. The track remains one of his more popular songs which Satriani still performs regularly at his latest concerts with slight adaptation. Often during live performances, the song begins with a suspended second arpeggio section which can be heard at the beginning of the song Turkey Man, which is featured on the album Additional Creations . The fifth track on Satriani s 1992 album The Extremist is entitled Rubina s Blue Sky Happiness , and is also about his wife. In 2008 Satriani recorded a song called Come on Baby featured on the album Professor Satchafunkilus and the Musterion of Rock which was, in Satriani s words, written for his wife Rubina but, as he explains in his podcast, he wrote the song in 1993 and he never had the courage to perform it until now. Unreferenced date January 2009 Joe Satriani Category 1986 songs Category Joe Satriani songs Category Instrumentals ... more details
Musical technique is the ability of musical instrument instrumental and Human voice vocal musicians to exert optimal control of the their instrument or vocal cords in order to produce the precise musical effects they desire. Improving one s technique generally entails practicing exercises that improve one s muscular sensitivity and agility. Technique is independent of musicality . To improve their technique, musicians often practice fundamental patterns of notes such as the Natural scale natural , Minor scale minor , Major scale major , and chromatic scale s, Minor triad minor and major triad s, Dominant seventh chord dominant and diminished seventh s, formula patterns and arpeggio s. For example, Triad music triads and Seventh chord sevenths teach how to play chords with accuracy and speed. Scale music Scales teach how to move quickly and gracefully from one note to another usually by step . Arpeggios teach how to play broken chord s over larger intervals. Many of these components of music are found in difficult compositions, for example, a large tuple chromatic scale is a very common element to Classical music classical and Romantic music romantic era compositions as part of the end of a phrase. Heinrich Schenker argued that musical technique s most striking and distinctive characteristic is repetition music repetition . ref Kivy, Peter 1993 . The Fine Art of Repetition Essays in the Philosophy of Music , p.327. ISBN 9780521435987. ref Works known as tude s meaning study are also frequently used for the improvement of technique. See also Position string technique Shift string technique Thumb position Sources Reflist Category Musical techniques ... more details
Concertino for Harpsichord and String Orchestra is a short harpsichord concerto written in 1934 by England English composer Walter Leigh . It was premiered by the English composer and pianist Elizabeth Poston . Movements Allegro Andante Allegro vivace In the first movement, a lively dialogue between soloist and orchestra culminates in a barred cadenza for the harpsichord, followed by a repeat of the opening statement. The Andante is a sarabande like movement, in ABA form. The ten bar theme stated by the soloist is repeated by the orchestra. In the B section, elements from the first theme are reassembled into new motives. The first theme is shared between cello s and violin s on its return, with the harpsichord playing accompanying arpeggio s. The last movement is in 6 8 and abounds in cross rhythms a number of short themes succeed each other rapidly. A short cadenza leads to a reprise incorporating themes from all three of the movements. Piano has occasionally replaced harpsichord in performance, owing to the relative obscurity of the harpsichord at the time of composition, and the economic demands of publishing. It has been recorded by Trevor Pinnock on Lyrita George Malcolm musician George Malcolm on BBC radio classics Colin Tilney on CBC and Neville Dilkes on EMI. A 1940s English Decca Records recording of Kathleen Long in the piano version has achieved compact disc rerelease on the Dutton label. ref name MusicWeb http www.musicweb international.com classrev 2005 Mar05 Leigh chamber CDLX7143.htm Culot, Hubert, Review of Walter Leigh Complete Chamber Works Dutton Epoch CDLX 7143 on MusicWeb International, accessed August 31, 2009 ref Length c. 9 minutes. It is published by Oxford University Press . References reflist Category Harpsichord concertos Leigh Category English music Category 20th century classical music Category 1934 compositions nl Klavecimbelconcert Leigh ... more details
File Molto Vivace.png thumb 360px The first deceptively simple bars of the Transcendental tude No. 2 Transcendental tude No. 2 in A minor , Molto Vivace , or Fus es small French language French small Rockets is the 2nd piece of the Transcendental tudes by Franz Liszt . The title Fus es is not Liszt s own, but was added by Ferruccio Busoni in his edition of the tudes, referring to the right hand figures that leap off the keyboard, giving impressions of rockets going off. It is a study in alternating hands, hands overlapping, both hands playing the same note alternatingly, and steep right hand leaps. It is one of the harder tudes. Form This piece is an extremely volatile one as fierce alternating notes in dynamics music fortissimo fire away. Soon the notes alternate even more fiercely, followed by a flying right hand arpeggio accompanied by long arpeggiated chords. Then new difficulties are introduced as the right hand jumps high up the keyboard and returns firmly, offsetting a set of same note left hand right hand alternations. As the climax of the piece approaches it crescendos and plays even fiercer low pitched notes, and soon the right hand figures explode with erratic chords that climb high up to the keyboard and then back down. The climax then ensues as both hands alternate on the same notes that climb 5 octaves up the keyboard and down again, then fires up again and down again. Then the right hand arpeggios recapitulate and the right hand flies even higher and steeper. After a few more loud chords, the piece finally relents. External links IMSLP2 id Transcendental Etudes 2C S.139 28Liszt 2C Franz 29 cname Transcendental tudes Liszt transcendental tudes Category tudes by Franz Liszt Transcendental 02 es Estudio trascendental n. 2 pt Estudo Transcendental N 2 ... more details
The Yamaha MO6 MO8 is a professional level music production synthesizer that comes in two sizes. The MO6 is the 61 key while the MO8 is the 88 weighted key version. The two versions are powered by Yamaha s AWM2 Advanced Wave Memory 2 tone generator which used to power the Motif and the Motif ES series of synths and comes with 175MB of waveform memory, 64 voices of polyphony 124 Max , 512 preset programs with 256 User voice and 129 GM voice, over 1700 arpeggio programs, and over 18 different filter types navigated through the 240x64 LCD display. Although the MO series keyboards have not been officially been discontinued by Yamaha, they have been superseded by the MOX series, which draws on the improved sound engine of the company s fourth generation Motif XF series. The units are designed to offer a fully integrated solution for a PC based workstation, particularly one running Steinberg s Cubase , as the company is partly owned by Yamaha. Sounds The Yamaha MO6 MO8 s sounds are based on the Yamaha Motif ES sound set which provides for a very complete range of voices from pianos, electric pianos, organs, guitars, strings, and pads to percussion and special effects. Other Features Among other features, the MO6 MO8 comes with 4 knobs and 4 data sliders allowing you to tweak your sounds in real time . The MO6 MO8 effects processor allows the user to choose from over 190 effects including 116 insertion effects. The MO6 MO8 also has scene capture mode, remote mode, S PDIF 24 bit 44.1 kHz digital outs, and, two USB ports. See also Yamaha Motif Yamaha MM6 External links http www.yamahasynth.com products mo index.html MO6 MO8 at yamahasynth.com http usa.yamaha.com products musical instruments keyboards synthesizers mox series mox6 ?mode model MOX6 MOX8 at Yamaha.com Category Yamaha synthesizers MO Electronic musical instrument stub pl Yamaha MO ... more details
about the rhythmic level dividing the pulse music pulse Beat music Image 3blind1.gif thumb 285px A theme and some possible divisions. audio 3blind1.mid Play Division in music refers to a type of Ornament music ornamentation or Variation 28music 29 History of variations variation common in 16th and 17th century music ref cite web title Uniform Titles for Library Cataloguing url http www.library.yale.edu cataloging music type2007.htm publisher Yale University accessdate 2008 01 29 ref in which each note of a melodic line is divided into several shorter, faster moving notes, often by a rhythmic repetition of a simple musical device such as the trill music trill , turn music turn or cambiata on each note in turn, or by the introduction of nonchord tone s or arpeggio figures. The word was used in this sense to describe improvised coloratura ornamentation as used by opera singers of the day, but it made a ready way of devising variations upon a theme, and was particularly cultivated in the form of the division on a ground the building of successively higher and faster parts onto a repeating bass line. Examples of divisions on a passacaglia ground were written by, among others, John Jenkins composer John Jenkins and Christopher Simpson ref cite web title Track Listing of Recording of Ayres and Divisions by William Lawes, Simpson, Jenkins and Purcell url http www.signumrecords.com catalogue sigcd007 index.shtml publisher Signum Records accessdate 2008 01 29 ref . Simpson gives a lengthy explanation of the art of free improvisation over an ostinato bass line in his book The Division Viol . References reflist Category Musical techniques Category Polyphonic form Category Baroque music Category European music music theory stub ... more details
unreferenced date August 2010 Infobox Album Name Fuck the Golden Youth Type Studio album Artist The Mint Chicks Cover MintChicks Youth.jpg Released 2005 Genre Punk rock , power pop , No Wave Length 36 06 Label Flying Nun Last album Anti Tiger br 2004 This album Fuck the Golden Youth br 2005 Next album Crazy? Yes Dumb? No br 2006 Misc Fuck the Golden Youth is the first full length album released by The Mint Chicks on the Flying Nun label. The album was produced by singer Kody and Guitarist Ruban Nielson and recorded by the band in total isolation in a house on a beach in Northland, New Zealand which was inaccessible except at low tide. Track listing Tracks 1, 2, 4, 7, 8, 10, 12 composed by Kody Nielson. br Tracks 3, 11, 13 composed by Ruban Nielson. br Tracks 6, 9 composed by Kody Nielson and Ruban Nielson. br Track 5 composed by Kody Nielson, Ruban Nielson and Michael Logie. Fat Gut Strut 3 10 Rubbage Rat 1 02 Fuck the Golden Youth 1 46 A Quick Show of Hands 3 24 Nothing is a Switch 3 23 Opium of the People 3 03 Take It, I Don t Want It 2 39 My Arpeggio 2 06 Licking Letters 2 02 Silver Homeless Man 3 03 So Many of You, So Few of Us 1 34 I Don t Want to Grow Old 2 34 You re Bored Because You re Boring 5 49 The Mint Chicks Category 2005 debut albums Category The Mint Chicks albums Category Flying Nun Records albums ... more details
Listen filename Chopin Scherzo No. 3 re recorded .ogg title Scherzo No. 3 in C sharp minor description performed November 2011 The Scherzo No. 3 Opus number opus 39 by Fr d ric Chopin begins in the key of C sharp minor, then moves to D flat major, and returns to C sharp minor, concluding in C sharp major. It was completed in 1839. The composition opens with an almost Lisztian introduction, leading to a subject in octaves of pent up energy. The key changes to D flat major, with a chorale like subject, interspersed with delicate falling arpeggios. Louis Kentner thinks of it as a Wagnerian melody of astonishing beauty, recalling the sound of tubas, harps and all the apocalyptic orchestra of Valhalla. Citation needed date June 2009 This is the most terse, ironic, and tightly constructed of the four scherzos, with an almost Beethovenian grandeur. Structure This piece begins with an introduction similar to Chopin s second scherzo. It then progresses into the fierce main theme. This is particularly difficult to perform, due to the technique needed to accurately and quickly execute the running octave patterns. The scherzo then moves into a transition section that leads back to the main theme. The following, singing style cantabile section is in D flat major. The main theme and its sequences begin with strong chords that hold the melody followed by a downward flutter of notes. There follows a brief section consisting of a series of arpeggio s. The elements of this lyrical section repeat themselves a few times and the piece then moves back into the main theme. External links http www.ourchopin.com analysis scherzo.html Analysis of Scherzo Op.39 at http www.ourchopin.com Chopin the poet of the piano IMSLP2 id Scherzo No.3, Op.39 Chopin, Frederic cname Scherzo No.3 Wikipedia books Fr d ric Chopin Chopin scherzos Category Compositions by Fr d ric Chopin Category Solo piano pieces Category 1839 compositions music stub es Scherzos Chopin fr Scherzos de Chopin ja 3 pl S ... more details
Claude Debussy s tudes List of compositions by Claude Debussy by Lesure Numbers L 136 are a set of 12 piano tude etudes composed in 1915. The pieces are extremely difficult to play, as Debussy himself admitted, describing them as a warning to pianists not to take up the musical profession unless they have remarkable hands ref http pianosociety.com cms index.php?section 156 ref . They are broadly acknowledged as his late masterpieces. ref Lesure, Grove ... Etudes for piano, one of his greatest late works. ref tude 1 pour les cinq doigts d apr s Monsieur Czerny five fingers, after Monsieur Carl Czerny Czerny tude 2 pour les tierces Third music thirds tude 3 pour les quartes Perfect fourth fourths tude 4 pour les sixtes sixth s tude 5 pour les octaves octave s tude 6 pour les huit doigts eight fingers tude 7 pour les degr s chromatiques Chromatic scale chromatic Degree music degrees tude 8 pour les agr ments Ornament music ornaments tude 9 pour les notes r p t es repeated notes tude 10 pour les sonorit s oppos es opposing sonorities tude 11 pour les arp ges compos s composite arpeggio s tude 12 pour les accords chord music chord s Notes reflist References Elie Robert Schmitz, V. Thomson. The Piano Works of Claude Debussy . Courier Dover Publications, 1966. ISBN 0 486 21567 9 GroveOnline Claude Debussy Fran ois Lesure, Roy Howat 27 November 2006 DEFAULTSORT Etudes Category Compositions by Claude Debussy Category Piano tudes Debussy Category 1915 compositions classical composition stub es tudes Debussy fr tudes de Debussy ko ja uk ... more details
Infobox Chord chord name Psalms chord first interval root chord root second interval minor third third interval perfect fifth fourth interval minor tenth Image Psalms chord.png thumb right 150px Psalms chord In music , the Psalms chord is the famous opening chord music chord ref name Straus Straus, Joseph N. 2005 . Introduction to Post Tonal Theory third edition , p. 152. ISBN 0 13 189890 6. ref of Igor Stravinsky s Symphony of Psalms , a barking E minor chord minor triad music triad characteristically voicing music spaced , ref Mellers, Wilfred 1971 . 1930 Symphony of Psalms , Tempo , New Series, No. 97 Igor Stravinsky 17 June 1882 6 April 1971 , pp. 19 27. Cambridge University Press. ref like no E minor triad that was ever known before . ref Berger, Arthur 1963 . Problems of Pitch Organization in Stravinsky , p. 33. Perspectives of New Music , Vol. 2, No. 1 Autumn Winter , pp. 11 42. ref It is common to both the octatonic scale and the Phrygian scale on E, and the contrasting sections of the first movement music movement based on the scales are linked by statements of the Psalms chord. ref name Straus listen filename Psalms chord.ogg title Psalms chord description Arpeggio then simultaneity format Ogg See also Elektra chord Mystic chord Petrushka chord Tristan chord Psalms Further reading Tymoczko, Dmitri 2002 . Stravinsky and the Octatonic A Reconsideration , p.93. Music Theory Spectrum , Vol. 24, No. 1 Spring , pp. 68 102. van den Toorn, Pieter C. 1975 . Some Characteristics of Stravinsky s Diatonic Music , p.121. Perspectives of New Music , Vol. 14, No. 1 Autumn Winter , pp. 104 138. Sources references chords Category Chords Category Post tonal music theory ... more details
Waltz in A minor, B. 150, KK IVb 11, P. 2 11 , is a Waltz music waltz for solo piano composed by Fr d ric Chopin . The waltz was written sometime between 1843 and 1848, but was not published until 1955, over 100 years later. ref name Allmusic Allmusic class work id c40586 pure url yes Allmusic ref Analysis The mood of the piece is unclear, showing great sadness at times but also hinting at happiness and hope. The first theme of the piece uses a simple but effective melody, conveying a sad portrait, with decorative ornaments used throughout. The second theme is more interesting and lively, although it still has a certain sadness. About halfway through the piece, there is a modulation into A major, featuring a happy and joyful melody. The piece concludes with the main theme, followed by a short coda. ref name Allmusic ref name Piano Society http www.pianosociety.com cms index.php?section 633 Piano Society ref The piece is set out in an ABACA form, with a short Coda. The A section is the main melancholic A minor theme, which is based around a simple Waltz accompaniment in the left hand, with a solemn quaver melody played in the right. The B section is based around E major, which is highly decorated with mordents, and large sweeping arpeggio s. There s then a brief return to the A theme, which unexpectedly modulates to B major. The C theme abruptly modulates to A major the parallel major of A minor . This theme is very similar to the B section, the left hand continues with the Waltz accompaniment whilst the right hand plays a highly decorated melody. There s another brief return to the A theme, before a short Coda which concludes the piece with an authentic cadence in A minor. See also Waltzes Chopin List of compositions by Fr d ric Chopin References reflist External links http server3.pianosociety.com protected waltz19.pdf Score Wikipedia books Fr d ric Chopin Chopin waltzes Category Waltzes by Fr d ric Chopin Category 1848 compositions Category Classical musical works ... more details
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