An Giang info: Youtube daily report Mar 3 2017

Yo, written in 10 minutes, for the fans

Have to fly to LA now, to discuss my Fa$hion collection

Fa$hion

Yeah

I am your male slut but honest to you

Just give me a call and we'll see what happens

I won't promise anything but don't expect anything either

I like being your bitch

You can't have all of me

You won't get my soul

Why is my body not enough for you

I like being your bitch

I am a man in a womans body

Just give me a call if you need me

What I have the other have as well

But if I answer once, you won't hang up again

Sexdate / Flatrate, always available, never attainable

I won't blame you if I've got no time

I am currently en route, travelling the country

am a very busy man

So be unrestrained and know no inhibition

Just try again, I'll answer the next time

I am your male slut but honest to you

Just give me a call and we'll see what happens

I won't promise anything but don't expect anything either

I like being your bitch

You can't have all of me

You won't get my soul

Why is my body not enough for you

I like being your bitch

Yeah I know I sound like Drake and maybe it's to gay

But I think it is okay Cuz I do Raop

Tonight I'll be your babe and I hope that you like rape

So just take me as you like I do Raop

I am your bitch I do Raop

That is not too gay I do Raop

Yeah I do Raop

Hummmmm

You can't have all of me

You won't get my soul

Why is my body not enough for you

I like being your bitch

Your bitch, your bitch, your bitch, your bitch, your bitch

I enjoy being your bitch (your bitch)

Your male slut but honest to you

Just give me a call and we'll see what happens

Your bitch

Buy me

For more infomation >> Jahmica - Deine Bitch (Official Music Video) [prod. by Günther Gadget] - Duration: 2:52.

-------------------------------------------

Four-Part Writing: 2nd Inversion, Figured Bass - Harmony II, 03 - Duration: 5:30.

Inverted Triads in the Major Mode: The Chord of the Sixth-and-Fourth | Upper Voices | Figured

Bass [mus]

The chord of the Sixth-and-Fourth – which is the Second Inversion triad – is so-named

because the diatonic intervals from the bass to each of the upper voices are a Sixth, a

Fourth, or an Octave (or Unison).

[mus]

The fifth of the second inversion triad is

located in the bass.

Most of the time, one of the three upper voices doubles the bass tone.

[mus, choral]

It makes little difference whether S, A, or

T does the doubling.

Sometimes it is the root that is doubled – the "4th" of this inversion.

[mus] Or,

The third of the triad – the "6" of the inversion – may be the doubled note.

Doubling the "6" of a Sixth-and-Fourth chord is rare, however, as this doubling is

enabled only by natural voice leading.

[mus]

The Close Position Gap: A "gap" may occur

between two upper voices, due to the Rule about not doubling the bass tone of First

Inversion triads.

In spite of the "missing" third in the upper parts, we still refer to these as "close"

(rather than "open") voicings.

[mus]

That said, any tone of a First Inversion triad

within range may be assigned to any upper voice in close position.

Listen to these examples, based on [p. 45] Salomon Jadassohn's Manual of Harmony (See

reference in the description) [mus]

[mus]

It goes almost without saying that open position triad pitches may be assigned indiscriminately

to the upper voices.

[mus]

Doubling follows the guidelines of proper voice leading discussed earlier; note that

adjacent upper voices must not exceed an octave of separation.

As for the Second Inversion, any triad tone may be assigned to any upper voice, whether

in close or open position.

Listen to these examples of both close and open position triads.

Also based on [p. 45] Jadassohn's Harmony manual (See note in the description).

Close [mus].

Open [mus].

Sometimes a single bass note shows multiple, side-by-side figures.

What do these mean?

These mean that the time value of the bass note is shared equally between the associated

figures.

Observe that now, even the root position triads require written figures. Either

[mus] Or, … [mus] Or, … [mus].

It's good to show where the voices lead; ALL the voices!

Another illustration.

This example may likewise be worked out in more than one way.

There are at least three possible realizations of those figures.

Either [mus].

Or [mus].

The harmony of each is correct, and agrees with the same set of bass figures.

From now on, we will often encounter bass figures like these in the exercises.

The figures are no longer restricted to the first chord, but will appear throughout.

Think of these numerals as "chord symbols," somewhat like those printed in popular sheet

music today.

The figures indicate the inversion or position of each triad; they DO NOT necessarily specify

the position of the soprano.

Watch and Listen.

[mus]

Such figuring is called "Thorough-bass,"

or "Figured-bass," and is useful in our study of harmony and counterpoint.

Subscribe, Like, Share, and Comment if you have questions about what we've learned so

far.

Next, Food for Thought.

Memorize the chord position or inversion represented by these sets of bass figures, whether Root

position, 1st, or 2nd inversion.

Thank you for watching (and listening)!

For more infomation >> Four-Part Writing: 2nd Inversion, Figured Bass - Harmony II, 03 - Duration: 5:30.

-------------------------------------------

Fünf Ratschläge für geistliche Väter – Bayless Conley - Duration: 28:02.

For more infomation >> Fünf Ratschläge für geistliche Väter – Bayless Conley - Duration: 28:02.

-------------------------------------------

Vijaco.com Vijaco.com Vijaco.com

An Giang info

Friday, March 3, 2017

Youtube daily report Mar 3 2017

Vijaco.com

Vijaco.com

Vijaco.com

No comments:

Post a Comment