"beautiful and light-hearted"". When Robert Story visited the Hogarth household in 1836, he described Hogarth as ""the fairest flower of spring"". Dickens showed particular affection to Hogarth, and described her as ""a close friend, an exceptional sister, a companion at home."" It is believed that Hogarth was the first person to read ""The Pickwick Papers"" and ""Oliver Twist"", as Dickens valued Hogarth's input and feedback more than his wife's. In the early hours of 7 May 1837, after Hogarth had returned from a showing of ""Is She His Wife?"" at the St James's Theatre with the Dickens couple, she collapsed"
"dialogue between the four parts. The finale also contains a high degree of chromaticism, a feature that links the four movements of the work. The musicologist W. Dean Sutcliffe points to the recurrence of C at key points in each movement, serving at different times to create dissonance, to commence modulation (music) away from the tonic, or, as in the case of the finale, as a device for inflection. The third quartet of the set, in E-flat major, is numbered III/46 in the Hoboken-Verzeichnis catalogue. Its movements are: This is a concise work, in terms of its duration, the economy"
"order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes: Bihagara Bihagara is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune. The Guru Granth Sahib consists of 31 ragas and this is the seventh raga to appear in the series. The composition in this raga"
"ternary form. It is composed of the Allegretto and contrasting trio section, followed by a reprise of the Allegretto material and coda. A notable aspect of this movement is Brahms’s careful attention to symmetry. The form could be described as: The Allegretto is in the key of A major and begins with a calm, stepwise melody in the clarinet. The four-bar figure is extended to an irregular five bars through a small bridge between the phrases by the strings. The clarinet rounds off the A theme in the Allegretto with an inversion of the first five bars heard. The B"
"concertos. The work is one of only two minor-key piano concertos that Mozart composed, the other being the No. 20 in D minor. None of Mozart's other piano concertos features a larger array of instruments: the work is scored for strings, woodwinds, horns, trumpets and timpani. The first of its three movements, Allegro, is in sonata form and is longer than any opening movement of Mozart's earlier concertos. The second movement, Larghetto, in E major—the relative major of C minor—features a strikingly simple principal theme. The final movement, Allegretto, is a theme and eight variations in C minor. The work"
"Indian) classical music. Structurally, it comprises an opening alap; a gat section, which serves as the main portion of the song; and a short drut (fast) gat to close the piece. The alap consists of sitar played in free tempo, during which the song's melody is previewed in the style of an Indian raga. Described by Harrison biographer Simon Leng as ""essentially an adaptation of a blues lick"", the seven-note motif that closes the alap serves as a recurring motif during the ensuing gat. The change of metre following the alap marks the first such example in the Beatles' work;"
"belief that it is also a more personal expression of Elgar's grief, as he had lost close friends August Johannes Jaeger and Alfred Edward Rodewald around the time he was working on the symphony. The movement is in sonata form without a development and is characterised by its manipulation of modal expectations. It opens with a seven-bar C minor introduction of soft chords in the strings, grouped into a 3+3+1 bar pattern which contrasts with the clear 4+4 grouping of the main theme's funeral march. The march tread of the movement is suggested beginning at bar 8 by a series"
"sound character of the variation, with its emphasis on slow-moving harmonic masses, is unearthly, and its plan is unconventional, with the subject occurring only four times . The finale's material is based on a rhythm identified by Stravinsky in earlier works (such as ""The Firebird"" and ""The Rite of Spring"") with the Russian circle-dance called a ""khorovod"". This repeating, three-note syncopated rhythm with proportions 3:3:2 ( ) is especially evident in the accompanying chords at the end, but all the preceding material in the movement is built on it or contains it. The overall formal design may be represented as"
"in the development section of the second movement (b. 93 and 168, both times in the low strings), at the beginning of the development in the third movement (b. 32) in the low woodwinds, and in the fourth movement in the development or episodic section, first in the bass clarinet, then with the addition of the bassoons and contrabassoon . The third, slow movement is a monothematic sonata-allegro form, with a shift from B minor to D major marking both the exposition and the course of the work as a whole . The finale is cast in sonata-allegro form, though"
"Southern Harmony The Southern Harmony, and Musical Companion is a shape note hymn and tune book compiled by William Walker, first published in 1835. The book is notable for having originated or popularized several hymn tunes found in modern hymnals and shape note collections like ""The Sacred Harp"". The roots of ""Southern Harmony"" singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services. This practice remained popular with Baptists in the South long after it fell from use in other regions. In"
"is known as the ""valanthalai"" or ""bala bhaaga"". The smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds. The goat skin covering the smaller aperture is anointed in the center with a black disk made of rice flour, ferric oxide powder and starch. This black tuning paste is known as the ""satham"" or ""karanai"" and gives the mridangam its distinct metallic timbre. The combination of two inhomogeneous circular membranes allows for the production of unique and distinct harmonics. Pioneering work on the mathematics of these harmonics was done by Nobel"
"There are two prevalent systems, one using four shapes, and one using seven. In the four-shape system used in ""The Sacred Harp"", each of the four shapes is connected to a particular syllable, ""fa"", ""sol"", ""la"", or ""mi"", and these syllables are employed in singing the notes, just as in the more familiar system that uses ""do"", ""re"", ""mi"", etc. (see solfege). The four-shape system is able to cover the full musical scale because each syllable-shape combination other than ""mi"" is assigned to two distinct notes of the scale. For example, the C major scale would be notated and sung"
"fourth and final section combines each element of harmony, melody, and rhythm in a recapitulation, while introducing the remaining pitches of the chord upon which the work is based (A-sharp, C-sharp, and E-sharp). The final phrase (mm. 171–180) builds to the climax that includes all ten performers and all eight pitches in m. 177, signifying the ""creation"" of Homunculus. Perry's ""Chord of the Fifteenth"" is a structural chord built on E and consists of a major third, a perfect fifth, a major seventh (with a minor seventh appearing frequently in one section), a major ninth, an augmented eleventh, a major"
"follows the classical concerto structure of three movements with a rondo finale, with the three movements in E flat, A flat, E Flat. Juergen May writes: Still, there are ""Straussian"" melodic shapes, harmonic successions, and rhythmic characteristics that reveal the identity of their creator. The composer looks back to a past aesthetic from the perspective of someone who has lived through the paradigm changes of the nineteenth and twentieth centuries. In that respect, one might call the work postmodern. Norman Del Mar wrote that ""...the piece had turned into a singular success from first to last. It is the freedom"
"early admirer of the piece: he praised it in a 1953 article written for Pierre Schaeffer , and sent John Cage a copy of the ending . One writer believes the pitch structure is built from the opening trichord of the piece, D, C, F . Two others on the contrary describe it as a succession of chromatic aggregates, organized primarily by registral position. This starts from fixing the notes in a perfectly regular pattern of minor ninths, ""wrapping around"" from the extreme high to the extreme low register (or low to high, depending on the direction taken) as the"
"is a longer, ingeniously composed movement in the Italian concerto style. There is no ritornello; instead the rhythmic material in the opening bars and the first entry in the bass line is used in counterpoint throughout the piece to create a feeling of rhythmic direction, full of merriment and surprises. The final ""allegro moderato"" in D major had originally been intended for the twelfth concerto, when Handel had experimented with the keys of D major and B minor. A cheerful gavotte-like movement, it is in binary form, with a variation (or ""double"") featuring repeated semiquavers and quavers in the upper"
"the work as a whole"". Béla Bartók is noted for his use of arch form, e.g., in his fourth and fifth string quartets, ""Concerto for Orchestra"", ""Music for Strings, Percussion and Celesta"", second piano concerto, and, to a lesser extent, in his second violin concerto. Samuel Barber's ""Adagio for Strings"" and Shostakovich's ""String Quartet No. 8"" in C minor also use arch form. The most popular arch-form structure is ABCBA. Arch form In music, arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the"
"throughout the piece, while some of the material incorporates the interaction between minor and major thirds present in the Allegro (I). The movement ends in a similar fashion to how it began, with clarinet solo followed by horn solo, accompanied by harp. Maes eloquently summarizes the mystique of the third movement by pointing out how powerfully it refers to the ""mythical, imaginary world of both ""Ruslan"" and ""Prince Igor""."" According to Oldani the finale is in sonata form, but more free than the first movement. However, Brown points out that there are at least three viable ways to interpret the"
"Salagam Salagam (pronounced sālagam) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is the 37th ""melakarta"" rāgam in the 72 ""melakarta"" rāgam system of Carnatic music. It is called Sowgandini in Muthuswami Dikshitar school of Carnatic music. It is the 1st rāgam in the 7th ""chakra Rishi"". The mnemonic name is ""Rishi-Pa"". The mnemonic phrase is ""sa ra ga mi pa dha na"". Its """" structure (ascending and descending scale) is as follows (see ""swaras"" in Carnatic music for details on below notation and terms): In this scale, the notes ""shuddha rishabham, shuddha gandharam,"
"be in sonata-allegro form, like the outer movements. In contrast to the first movement, however, the development here is unusually extensive . The recapitulation, on the other hand, is much shorter than the exposition, and the movement concludes with an autumnal coda . Intensely concerned with timbre, the finale weaves together constantly shifting, overlapping, and dissolving shades and gradations of instrumental colour . It opens with a long introduction in slow tempo, featuring a theme that anticipates the style of Paul Hindemith . The main body of the movement, like its two predecessors, is in sonata-allegro form, with an extended"
"and D a fourth apart and using the same rhythms and pitch classes as the trumpets. In three movements: The first movement, Allegro brillante, is a sonata form that begins with a theme which is basically a D minor scale going up, followed by i and V arpeggiations. The second subject theme uses syncopations and has a dance-like character. The horns are in F, trumpets in D. The second movement, Andantino in B-flat major, gives the ornamented version of the theme first, in the strings. The trumpets in thirds, reinforced by the other winds, then give the unadorned version of"
"four ""swaras""). ""Sargam"" is the Indian equivalent to solfege, a technique for the teaching of sight-singing. The tone Sa is not associated with any particular pitch. As in Western moveable solfège, Sa refers to the tonic of a piece or scale rather than to any particular pitch. In Bhatkhande's system, the basic mode of reference is that which is equivalent to the Western Ionian mode or major scale (called ""Bilawal"" thaat in Hindustani music, ""Dheerasankarabharanam"" in Carnatic). The flattening or sharpening of pitches always occurs with reference to the interval pattern in Bilawal thaat. Each thaat contains a different combination"
"in B minor, Christe in D major, II in F-sharp minor. The three notes B, D and F-sharp form the B minor triad. Butt notes D major as the central key, corresponding to the ""atonement of Christ"". The is structured in symmetry as a sequence of choral movements and solo movements, arias and a central duet, in three sections. The first is opened with a chorus followed by an aria, closed in the last section in symmetry by an aria followed with a chorus; the middle section alternates choral music with solo movements. The trumpets are introduced as a symbol"
"in C-sharp minor (#14), which consists of seven connected movements (these however do not combine to create a clear larger form, and thus the quartet is not an example of double-function form). Double-Function Form Double-function form is a musical construction that allows for a collection of movements to be viewed as elements of a single larger musical form. The most famous example of this is Franz Liszt’s Piano Sonata in B minor (1853). The sonata is composed as a single movement with about a half an hour’s duration. The piece introduces some themes at the very outset of the piece"
"& Harrison in Durham, to the specification of the London County Council's consultant, Ralph Downes, who also supervised the tonal finishing. It was designed as a well-balanced classical instrument embracing a number of rich and varied ensembles which alone or in combination could equal the dynamic scale of any orchestra or choral grouping, in addition to coping with the entire solo repertoire. The design principles enshrined in its construction gave rise to a whole new school of organ building, known as the English Organ Reform Movement, influencing in the UK alone the cathedral organs of Coventry and Blackburn and the"
"to Valadon's self-portrait of the same year or her depiction in Toulouse-Lautrec's painting ""The Hangover"" (c. 1889) to appreciate the extent of Satie's idealization. The sketch and Satie's bold, angular signature beside it dominate the composition, in which the different elements (music, text, drawing) are carefully arranged on the page for visual effect. Robert Orledge found stylistic links between the song and two other Satie compositions which place all three within the context of the Satie-Valadon affair. ""Bonjour Biqui"" and the piano piece ""Vexations"" are constructed entirely from ""ambiguous diminished chords"" first found in the ""Danses gothiques"", which Satie completed"
"is in seven movements as follows: The opening movement begins with a slow introduction in B flat major in which ""tutti"" syncopated rhythms are set in opposition to solo passages for clarinet and oboe. This leads into the Allegro moderato, which is a monothematic sonata form. The first theme of the exposition opens, originally presented in B flat major in the clarinets, later returns in F major in the basset horns and oboes in a modified form as the second theme. This theme continues to be explored in the development and returns in the recapitulation, this time in B flat"
"and his partner are called the ""first"" or ""top end"" couple and sets are generally formed such that first couple is closest to the stage with the band, CD player, or other source of music. Other shapes of sets include triangular sets (three couples on the sides of a triangle, this is fairly rare), square sets (four couples on the sides of a square) or square sets with extra couple(s) in the centre; these are much less common though some of the most popular dances in Scotland use these formations. When the set is not longwise then the lady starts"
"Nordic megalith architecture. It is called a stone enclosure in English, a ""Huenenbett"" (""giant's bed"") in German and a ""hunebed"" in Dutch. There are also circular, D-shaped (Lübeck-Blankensee, Gowens/Plön) and trapezoidal enclosures, of which 17 (with five different types of chambers) have been excavated in Mecklenburg-Western Pomerania. The geometry of the enclosure is independent of the type or shape of the chamber that they surround. The dolmens or passage graves lying within stone enclosures may be rectangular, trapezoidal or somewhat oval in shape. The chambers in the enclosures can be oriented longitudinally (mostly in enclosures with simple dolmens) or transversely"
"triangular harps in that the first two strings tuned in the middle of the gamut were set to the same pitch. In Scottish Gaelic, the names of the components of the clàrsach were as follows: ""amhach"" (neck), ""cnagan"" (pins), ""corr"" (pin-board), ""com"" (chest or soundbox), ""làmh-chrann"" (tree or forepillar), ""teudan"" (strings), ""cruidhean nan teud"" (string shoes), ""urshnaim"" (toggle?). The ""corr"" had a brass strap nailed to each side, pierced by tapered brass tuning pins. The treble end had a tenon which fitted into the top of the ""com"" (soundbox). On a low-headed harp the ""corr"" was morticed at the bass"
"elements, beginning with a wide, square slab known as a plinth. The simplest bases consist of the plinth alone, sometimes separated from the column by a convex circular cushion known as a torus. More elaborate bases include two toruses, separated by a concave section or channel known as a scotia or trochilus. Scotiae could also occur in pairs, separated by a convex section called an astragal, or bead, narrower than a torus. Sometimes these sections were accompanied by still narrower convex sections, known as annulets or fillets. At the top of the shaft is a capital, upon which the roof"
"the cropped design is particularly well-suited for wear in the hot summers of the Indian subcontinent. ""Lehenga"", ""gagra""/""ghagra"" (Hindi: घाघरा ""ghāghrā"") also ""chaniya"" (known as ""pavadai"" in Tamil: பாவாடை) is a form of skirt which is long, embroidered and pleated. It is secured at the waist or hips and leaves the lower back and midriff bare. The ancient version of skirt or ""ghagri"" evolved from ""bhairnivasani"", which in turn evolved from the antriya when stitching on one side became tabular and was worn gathered together at the waist, and held by a girdle. This was one of the earliest forms"
"Devagandhari Devagandhari (pronounced devagāndhāri) is a raga (musical scale) in Indian classical music. In the carnatic classical music, Devagandhari is a ""janya"" raga (derived scale), whose ""melakarta"" raga (parent scale, also known as ""janaka"") is ""Shankarabharanam"", 29th in the 72 ""Melakarta"" raga system. It is also there in the Sikh tradition of northern India and is part of the Guru Granth Sahib. Its structure (ascending and descending scale) is as follows (see ""swaras in Carnatic music"" for details on below notation and terms): Devagandhari ragam is an ""owdava-vakra-sampurna"" raga meaning, in ""arohana"" 5 ""swaras"" come (so it is called ""owdava"")"