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Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
Period built of two five-bar phrases in Haydn's Feldpartita in B ♭, Hob. II:12. [1] Diagram of a period consisting of two phrases [2] [3] [4]. In music theory, a phrase (Greek: φράση) is a unit of musical meter that has a complete musical sense of its own, [5] built from figures, motifs, and cells, and combining to form melodies, periods and larger sections.
Nightclub two step (NC2S, sometimes disco two step or California two step) is a partner dance initially developed by Buddy Schwimmer in the mid-1960s. The dance is also known as "Two Step" and was "one of the most popular forms of contemporary social dance" as a Disco Couples Dance in 1978. [1] It is frequently danced to mid-tempo ballads in 4
Contra dance choreography specifies the dance formation, the figures, and the sequence of those figures in a contra dance. The figures repeat, ideally, in a graceful flowing pattern, aligned with the phrasing of the music.
Phrasing is defined as being the personal expression of a movement. Example organisation of Laban movement analysis categories. These categories are in turn occasionally divided into kinematic and non-kinematic categories to distinguish which categories relate to changes to body relations over time and space.
The dances typically have a structure that matches the phrasing, with a section in which the couple walks an elaborate promenade, a section in which they dance bakmes turn (upper body facing as a couple, bodies rotating counter-clockwise at a rate of one revolution per two measures), a section in escort position, and concluding with a section ...
In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
Columbia quinto phrases correspond directly to accompanying dance steps. The pattern of quinto strokes and the pattern of dance steps are at times identical, and at other times, imaginatively matched. The quinto player must be able to switch phrases immediately in response to the dancer's ever-changing steps.