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- expression
- 2, pp. 58--59)) >The artist is inexplorable, the work of art is explorable.((Eduard Hanslick: //Vom Mus
- Blue Note
- e musicians have told me to make. They just don't work with the real blues ... the blues didn't come out
- rosewood @en:vok:klangholz
- cking and therefore generally less problematic to work with. [[http://www.esomogyi.com/tonewoods.html|E
- morado @en:vok:klangholz
- lowish-white. The heavily grained wood is easy to work, moderately heavy, hard, has very good mechanical
- elm @en:vok:klangholz
- ense and therefore durable, but also difficult to work. <panel> <carousel> * {{img:266.jpg?120x120}} <
- pick
- s used for performing more intricate or virtuosic work, but are not needed for beginner [[schlagen|strum
- psychoacoustics
- time, universal mechanisms of perception seem to work. Members of African Mafa culture first confronted
- intro
- (iii-VI7-ii-V7) or 6225 (vi-II7-ii-V7) will also work. The chords may e.g. be played as [[arpeggio]], e
- tablature
- gal Aspects"> If one evaluates the tablature of a work published otherwise in notation as a practical pl
- braguinha
- tte|inlay]] of dark and coloured woods -- typical work of Madeira, as can be verified in the inlay art u
- Madeira
- al instruments in 1879 to [[hawaii]] in search of work in the sugar plantations. Already in 1821 it was
- motif
- f at least partial elements of the motif, motivic work also includes formation of variants, which ensures the required variety of the musical work of art.((Stefan Keym: //Motivisch-thematische Arb
- grace note
- ed and slid to the target (melody) note. They all work only if both notes are on the same [[saite]]. </p
- linear tuning
- s Hill states: >Low-4<sup>th</sup> tuning doesn't work on soprano-sized instruments unless a wound 4<sup
- call and response
- to rhythmically structure and make joint, uniform work processes more bearable. A well-known example of