Pbr abv

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Here’s the thing about the bariolage section, then: Bach goes ahead and uses all the wrong notes. They’re all surprising, but the most surprising one is E♭, the most dissonant possible note in the key of D minor. That would be a bold choice even now. In Bach’s more conservative context, it was unheard of. But the bariolage doesn’t sound wrong at all. Bach carefully organizes all those chromatic notes so they all sound perfectly logical and inevitable. They sound richly strange, but certainly not wrong.

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Best 80s rap songs

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The tone that differentiates the Dorian mode from the standard minor (Aeolian) scale is its major 6th. To create a venerable Dorian sound, we’ll need to exploit the presence of that major 6th, and its contrast with the minor 3rd.

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National endowment for the humanities grant recipients 2018

Perhaps you’ve looked around at a bunch of our courses, and then realized that we don’t yet have that electronic dance harmonica course you’ve been looking for yet. Bummer! But that’s OK, because the Headliners Club allows you to go on a customized learning journey around a topic of your choosing.

My final point is to think about your instrument or gear setup, and anything else you’d want to dress the stage with. This one may take some years to fully conceptualize and realize, and it may be something that changes constantly. That’s all okay, but just know that it too matters.

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Exhibition catalogue grants

The ancient Greeks figured out that if you have a bunch of strings, it sounds really good if you tune them according to the frequency ratios you get from the natural overtone series. In such tuning systems, you get all your notes by picking a starting frequency, and then multiplying or dividing it by whole numbers. The good-sounding (to Western people) note combinations are the ones derived from the lowest harmonics — the ones that have you multiplying or dividing by the smallest prime factors: two, three, and five.

“Thank U, Next”: The sustain of that dreamy electric piano in this chord loop solidifies the G♭ chord as a G♭M13 and the F chord is an F7(#9) secondary dominant (V/vi )! Then we have a regular B♭m before returning to the tonic — but not so fast! We haven’t really returned home, since it’s a D♭7, another secondary dominant (V/IV) that sends us back to G♭M13. These secondary dominants act like coal nuggets to fuel a perpetual motion chord-loop machine. Form-wise, you could also call the chorus extensions “post-choruses,” but I already used up my “P” for the pre-chorus sections, so I’ll just call these extensions “variations” and be done with it.

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