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Long Lines Forward & Back All dancers face toward the dancers across the set from them, and join hands with the dancers beside them to form "long lines" on the sides of the set. These two lines then, in unison, take four steps forward and then four steps backward. [2] Mad Robin (Sashay Round) Two dancers move around one another as in a do-si-do.
Looking Forward Looking Back is the 56th studio album by Australian country music singer-songwriter Slim Dusty. This album was Slim Dusty's 100th album release. Looking Forward Looking Back was celebrated with a special Network 9 This Is Your Life event presentation by Mike Munro. At the ARIA Music Awards of 2001, the album won Best Country ...
D/F ♯ (alternately notated D major/F ♯ bass) notated in regular notation (on top) and tabulature (below) for a six-string guitar. Play ⓘ.. In music, especially modern popular music, a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter.
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. [1] The lack of a minor or a major third in the chord creates an open sound , while the dissonance between the fourth and fifth or second and root creates tension.
A power chord Play ⓘ, also called a fifth chord, is a colloquial name for a chord on guitar, especially on electric guitar, that consists of the root note and the fifth, as well as possibly octaves of those notes. Power chords are commonly played with an amp with intentionally added distortion or overdrive effects. Power chords are a key ...
Chord and nonchord tones are defined by their membership (or lack of membership) in a chord: "The pitches which make up a chord are called chord-tones: any other pitches are called non-chord-tones." [3] They are also defined by the time at which they sound: "Nonharmonic tones are pitches that sound along with a chord but are not chord pitches."
While all dancers in the room are part of the same dance pattern, half of the couples in the room are moving toward the band at any moment and half are moving away, so when everybody steps forward, they find new people to dance with. Once a couple reaches the end of the set, they switch direction, dancing back along the set the other way.
Charles Burkhart suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded phrase, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all ...
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