1001 Blues Licks: For All Treble Clef Instruments by Toby Wine

By Toby Wine

1001 Blues Licks offers 1001 riffs in a number of blues kinds to be performed in the usual 12-bar layout. this can be the fitting ebook for novices looking a well-organized, easy-to-follow encyclopedia of blues licks, in addition to consummate execs who are looking to take their wisdom of the blues to new heights.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

Extra resources for 1001 Blues Licks: For All Treble Clef Instruments

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Es posible que el canto llano se haya desarrollado en cierto modo a través del embellecimiento de las líneas melódicas simples originales; un ejemplo factible serían los melismas extáticos de *jubilus en algunos aleluyas. Los trovadores del siglo XII seguramente recurrieron a ornamentos en la decoración de la línea instrumental que doblaba la melodía principal en *heterofonía. El embellecimiento de la música polifónica era sin duda un asunto mucho más complejo, pues las funciones armónicas no podían pasarse por alto.

PADDISON, Adorno’s Aesthetics of Music (Cambridge, 1993); Adorno, Modernism and Mass Culture: Essays on Critical Theory and Music (Londres, 1996). adornos y ornamentación. Embellecimiento de una línea melódica y, menos frecuentemente, de una línea armónica. 1. Introducción; 2. Hasta 1600; 3. El periodo barroco; 4. A partir de 1760. 1. Introducción El arte de la ornamentación es una práctica común en muchos géneros, desde la música tradicional, popular y el jazz –géneros que por lo general no están escritos en notación o que consisten en simples guiones que ofrecen amplio margen para la improvisación–, hasta la música de arte occidental, cuya elaborada notación musical, en que la inventiva del ejecutante jugó un papel crucial en otras épocas, ha sido muy relegada por razones diversas.

Cuando una fuente sonora es pequeña comparada con la longitud de onda de la nota que irradia, las ondas viajan alejándose con igual fuerza en todas direcciones, describiendo una versión tridimensional análoga a las ondas de agua antes mencionadas, donde el frente de onda corresponde a una esfera en expansión. Puesto que la cantidad de energía original se extiende en un área mayor, la intensidad del sonido disminuye progresivamente (es decir, la energía que pasa a través de un área dada del frente de onda; véase infra, 11).

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