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Largo (Italian for 'wide', 'broad'), a very slow tempo, or a musical piece or movement in such a tempo "Largo" from Xerxes arranged from "Ombra mai fu", the opening aria from Handel's opera Serse; Hugo Largo, an American band from the 1980s; Largo (Brad Mehldau album), 2002
In popular music genres such as disco, house music and electronic dance music, beatmatching is a technique that DJs use that involves speeding up or slowing down a record (or CDJ player, a speed-adjustable CD player for DJ use) to match the tempo of a previous or subsequent track, so both can be seamlessly mixed.
Return to previous tempo Fermata: held, stopped, orig. Latin firmo "make firm, fortify" Holding or sustaining a note Grave: grave, solemn: Slow and solemn tempo (slower than largo) Largo: broad: Slow and dignified tempo Largamente: broadly: Slow and dignified tempo Larghetto: broad-ish: Slightly less dignified than largo (so slightly faster ...
The song plays a prominent role in Sebastián Lelio's 2017 film A Fantastic Woman, in which Marina, a transgender woman and singer, performs the aria before an audience towards the end of the film. [7] [8] The song is played during the end credits of the 2023 mystery thriller film The Tutor, performed by Alexander Bornstein and Edward Underhill.
Largo al factotum" (Make way for the factotum) is an aria (cavatina) from The Barber of Seville by Gioachino Rossini, sung at the first entrance of the title character, Figaro. The repeated "Figaro"s before the final patter section are an icon in popular culture of operatic singing.
In a singing style. In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.)
2 and a tempo marking of Largo. [a] In the first edition published by John Walsh, the orchestration is unspecified, [7] giving only a solo melody line above an unfigured bass line. There is the mention 'violins' at bar 23 where the singer breaks (bar 31 in most modern editions which include an 8-bar introduction).
Swiss Miss, (1926) arrangement of a song from Lady, Be Good; Machinery Gone Mad, (1927) unpublished; Blue Monday, (1927) a piano suite based on Gershwin's one-act opera of the same name; Merry Andrew, (1928) arrangement of a dance piece from Rosalie; Three-Note Waltz, (1931) Also known as Melody #36. Unpublished. Piano Transcriptions of Eight ...