Download Blues: Thinking Deep About Feeling Low (Philosophy for by Abrol Fairweather, Jesse R. Steinberg PDF

By Abrol Fairweather, Jesse R. Steinberg

The philosophy of the bluesFrom B.B. King to Billie vacation, Blues song not just sounds sturdy, yet has a nearly common attraction in its mirrored image of the rigors and tribulations of lifestyle. Its skill to powerfully contact on quite a number social and emotional concerns is philosophically inspiring, and the following, a various variety of thinkers and musicians supply illuminating essays that make very important connections among the human situation and the Blues that might attract track enthusiasts and philosophers alike.

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Additional info for Blues: Thinking Deep About Feeling Low (Philosophy for Everyone)

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Single-Step Trills It is understood that one trill s with the note above the written pitch or main note , mod ified, if needed , by a small accidental ju st to the right of the r of the trill sign or by a small, ste mless note-head in parentheses, following the ma in note: 1. , a violin tremolo or a drum roll); 2. g . , a piano tremolo) . This is related to the trill, except that the smallest tremolo interval must be larger than a second . ) Perhaps the most versatile sound source for trills, tremolos, and vib ratos is the voice (see detailed discussion in the Voice section) .

Its disadvantage is that it lacks quarter and iree-quarter flats . lut see the system presented at the end of the nexl section , page 69 . •See Approximate Pitches, page 70 , and Microtonal Trills, page 76 . The following example shows the same music as above, notated with Tartini None of these flats conveys as clearly as the Tartini sharps whether it lowers the pitch by one or by three quarters . Besides, the first three flats can easily be mistaken for carelessly written regular ones, and the other three are equally am biguous except that they are clearly backward .

11 t1& ~ \lthough many clefs and clef positi ons were used at various times in the past, mly the following survive in twentieth-century music : ,-clef -;-clef s; \Ito clef riola) Bass clef ~ ~ Tenor clef (bassoon , trombone, cello, but only for notes too high for the bass clef) Va-pitch clef such as in unpitched percussion) 3E Chimes p f 2. £: End of line Piano,leflhand : Beginning of next line ~ ~etc. ::ertain tran spositions are indicated with a small numeral : See also Spacings, Positions , and Sizes at Clef Changes, page 46 , and Clefs used in Scores and Parts , page 72 f.

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