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In music, fingering, or on stringed instruments sometimes also called stopping, is the choice of which fingers and hand positions to use when playing certain musical instruments. Fingering typically changes throughout a piece ; the challenge of choosing good fingering for a piece is to make the hand movements as comfortable as possible without ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
The practice of using solo voices on each musical line or part in choral music. ordinario (ord.) (Ital.) or position ordinaire (Fr.) In bowed string music, an indication to discontinue extended techniques such as sul ponticello, sul tasto or col legno, and return to normal playing. The same as "naturale". organ trio
The main is supported by the line stop sleeve. After performing the necessary service, the stop is removed, and a blind flange is installed on the sleeve. There are various types of line stopping heads. The oldest and still most widely used method of line plugging is the pivoting head style line stop. This technology dates back to the 1930s.
Stop-time in Joplin's rags is characterized by directions in the music for performers to stomp their foot to the beat. The sheet music for Joplin's "Ragtime Dance" contains the direction, [6] "Notice: to get the desired effect of 'stop time', that the pianist will please stamp the heel of one foot heavily upon the floor at the word 'stamp'. Do ...
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In 1945, Sonny Boy Williamson I adapted the tune as an early Chicago blues with Big Maceo (piano), Tampa Red (guitar), and Charles Sanders (drums). [9] Titled "Stop Breaking Down", the song featured somewhat different lyrics, including the refrain "I don't believe you really really love me, I think you just like the way my music sounds" in place of Johnson's "The stuff I got it gon' bust your ...
11 o'clock number is a theatre term for a big, show-stopping song that occurs late in the second act of a two-act musical, in which a major character, often the protagonist, comes to an important realization.