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The series began as a series of direct-to-video features which were recorded in front of a live audience. The first Fun Song Factory was released on 1 December 1994, and released as part of a series of original straight-to-video content commissioned by Abbey Home Entertainment's Abbey Broadcast Communications subsidiary.
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Even works that do not require a strictly constant tempo, such as musical passages with rubato, sometimes provide BPM markings to indicate the general tempo. Another mark that denotes tempo is M.M. (or MM), for Maelzel's Metronome. The notation M.M. is usually followed by a note value and a number that indicates the tempo, as in M.M. = 60.
Tempo Video was the mainstream video label for Abbey Home Entertainment and continued to be used until 2000, when the label was discontinued by AHE's new owner, Just Group. The Tempo label was also used within Abbey-distributed audio cassettes, under labels including Tempo Audio, Tempo Twins, Tempo Reed and Tempo Children's Classics.
The "beat" pulse is not necessarily the fastest or the slowest component of the rhythm but the one that is perceived as fundamental: it has a tempo to which listeners entrain as they tap their foot or dance to a piece of music. [28] It is currently most often designated as a crotchet or quarter note in western notation (see time signature).
This gives the passage an unusual timing and when played slowly an unusual sound. However, this is less noticeable by ear when played fast, as legato usually is. There is a fine line between legato and two-hand finger tapping, in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a more fluid, smooth sound ...
The Peabody is a brisk dance that covers a lot of space on the dance floor. Danced to almost any 2/4 or 4/4 ragtime tune of appropriate tempo, it is essentially a fast one-step, with long, gliding strides and a few syncopations. The leader changes sides as he travels around the floor and adds promenades and simple turns as the dance progresses.
Tapping was occasionally employed by many 1950s and 1960s jazz guitarists such as Barney Kessel, who was an early supporter of Emmett Chapman. In August 1969, Chapman developed a new way of two-handed tapping with both hands held perpendicular to the neck from opposite sides, thus enabling equal counterpoint capabilities for each hand.