© 2023 by Name of Site. Proudly created with Wix.com

STARTED OFF AS THREE MOVEMENTS BUT THEN BECAME FOUR MOVEMENTS- FOURTH ALWAYS TRANSCENDENT
https://en.wikipedia.org/wiki/Classical_music
Symphonies written during the Classical period are usually divided into four movements: (1) an opening Allegro in sonata form, (2) a slow movement, (3) a minuet or scherzo (in a triple meter, such as 3/4), and (4) a final Allegro. These movements can then be further broken down into a hierarchy of smaller units: first sections, then periods, and finally phrases.

TYPICAL SYMPHONY ORCHESTRA FOUR GROUPS OF INSTRUMENTS
https://en.wikipedia.org/wiki/Orchestra
The typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings (violin, viola, cello and double bass).

IN COMMON PRACTICE PRRASES ARE FOUR BARS OR MEASURES LONG
https://en.wikipedia.org/wiki/Phrase_(music_theory)
In common practice phrases are often four bars or measures long[12] culminating in a more or less definite cadence.[13] A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, the first or second half of a period.

FOUR PSYCHOLOGICAL ASPECTS OF SOUND
https://en.wikipedia.org/wiki/Music
Since the emergence of the study of psychoacoustics in the 1930s, most lists of elements of music have related more to how we hear music than how we learn to play it or study it. C.E. Seashore, in his book Psychology of Music,[17] identified four "psychological attributes of sound". These were: "pitch, loudness, time, and timbre" (p. 3). He did not call them the "elements of music" but referred to them as "elemental components" (p. 2). Nonetheless these elemental components link precisely with four of the most common musical elements: "Pitch" and "timbre" match exactly, "loudness" links with dynamics and "time" links with the time-based elements of rhythm, duration and tempo. This usage of the phrase "the elements of music" links more closely with Webster's New 20th Century Dictionary definition of an element as: "a substance which cannot be divided into a simpler form by known methods"[18] and educational institutions' lists of elements align with this list as well.

FOUR VOICE ROUNDS 
https://en.wikipedia.org/wiki/Round_(music)
Though not all rounds are nursery rhymes, "Row, Row, Row Your Boat" is a well-known children's round for four voices. 

The oldest surviving round in English is "Sumer Is Icumen In" (Hoffman 1997, 40) About this sound Play (help·info), which is for four voices

However, the earliest known rounds are two works with Latin texts found in the eleventh fascicle of the Notre Dame manuscript Pluteo 29.1. They are Leto leta concio (a two-voice round) and O quanto consilio (a four-voice round).

FOUR MAIN THEMES- usually 16 BARS- 16 SQUARES QMR
https://en.wikipedia.org/wiki/Ragtime
Original ragtime pieces usually contain several distinct themes, four being the most common number. These themes were typically 16 bars, each theme divided into periods of four four-bar phrases and arranged in patterns of repeats and reprises. Typical patterns were AABBACCC′, AABBACCDD and AABBCCA, with the first two strains in the tonic key and the following strains in the subdominant

THE FOURTH NOTE WAS DIFFERENT

https://en.wikipedia.org/wiki/Beethoven%27s_musical_style

In his Fifth Symphony Beethoven used the four-note motif (drawn from a late Haydn symphony) throughout the whole movement in different juxtapositions, marking the first important occurrence of cyclic form and giving a sense of a totally internal conflict to the piece.[8]

FOUR STAGES OF MUSIC  
https://en.wikipedia.org/…/Noise:_The_Political_Economy_of_…
Attali's Four Stages of Music[edit]
Attali believes that music has gone through four distinct cultural stages in its history: Sacrificing, Representing, Repeating, and a fourth cultural stage which could roughly be called Post-Repeating. These stages are each linked to a certain "mode of production"; that is to say, each of these stages carries with it a certain set of technologies for producing, recording and disseminating music, and also concomitant cultural structures that allow for music's transmission and reception.

SOOPERGROOP FOUR ACTS
https://en.wikipedia.org/wiki/Bonnaroo_Music_Festival
In 2013, Bonnaroo brought its stage to YouTube.[24] In conjunction with talent and Bonnaroo fans, Bonnaroo and Los Angeles production company Kids At Play[25] created Soopergroop – a band created from four musical acts brought together over four days to create and share original works at Bonnaroo 2013 and launch Bonnaroo’s YouTube channel.[26] The channel’s title, Bonnaroo 365, refers to the celebration’s intention to be part of fans’ daily lives. YouTube’s position with musician and fans – amassing 1.9 billion views of music videos in 2012[27] – made it an essential platform for the music festival.

Soopergroop[28] talent was chosen for their musicality and YouTube audiences. They met for the first time at Bonnaroo in June. Their work process over the four-day festival was the subject of an eight-part documentary series by Kids At Play released on Bonnaroo’s YouTube Channel.

The artists were: �

Soul Khan, an American songwriter, rapper and retired battle rapper from Brooklyn, N.Y..
Jenny Suk, known as JENI, singer and songwriter from the San Francisco Bay Area.
�Knower, the Los Angeles duo of Louis Cole and Genevieve Artadi, electronic funk-pop artists.
Black Violin, an American hip-hop duo from Miami (Kev Marcus on violin and Wil B on viola).

MEN SINGERS FOUR GROUPS
https://en.wikipedia.org/wiki/Singing
Men are usually divided into four groups: countertenor, tenor, baritone, and bass.

FOUR VOCAL REGISTERS
https://en.wikipedia.org/wiki/Singing
Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, and the whistle register. This view is also adopted by many vocal pedagogues.[13]

WITHIN SINGING THERE IS FOUR STAGES OF BREATHING
https://en.wikipedia.org/wiki/Singing
Within singing there are four stages of breathing: a breathing-in period (inhalation); a setting up controls period (suspension); a controlled exhalation period (phonation); and a recovery period.

A LONG TIME AGO I POSTED ALL OF THE HISTORIES OF ALL OF THE BANDS BACKSTREET BOYS SPICE GIRLS QUEEN ALL OF THEM- IF THERE WERE FOUR MEMBERS THE FOURTH WAS ALWAYS DIFFERENT AND THREE WERE ALWAYS MORE CONTINUOUS AND THE FOURTH REPLACED OR LEAVE---- AN EXAMPLE IS BEYONCE DESTINYS CHILD THEY HAD A FOURTH MEMBER BUT SHE LEFT--- IF THERE WAS FIVE HE WAS ALWAYS DIFFERENT AND LEFT FIFTH ALWAYS QUESTIOANBLE FOURTH ALWAYS DIFFERENT
https://en.wikipedia.org/wiki/Destiny%27s_Child
EXAMPLE

DESTINYS CHILD ORIGINALLY FOUR FOURTH LEFT

Because of the group's defeat, Knowles's father, Mathew, voluntarily dedicated his time to manage them.[8][11] Mathew Knowles decided to cut the original lineup to four, with the removal of Davis and the Taylor sisters and the inclusion of LeToya Luckett in 1993.[7][8] Aside from spending time at their church in Houston, Girl's Tyme practiced in their backyards and at Headliners Salon, owned by Knowles's mother, Tina. The group would test routines in the salon, when it was on Montrose Boulevard in Houston, and sometimes would collect tips from the customers. Their try out would be critiqued by the people inside. During their school days, Girl's Tyme performed at local gigs. When summer came, Mathew Knowles established a "boot camp" to train them in dance and vocal lessons.[12] After rigorous training, they began performing as opening acts for established R&B groups of that time such as SWV, Dru Hill and Immature.[7] Tina Knowles designed the group's attire for their performances.[12]

Four Men and a Dog
https://en.wikipedia.org/wiki/Four_Men_and_a_Dog
From Wikipedia, the free encyclopedia
Four Men and a Dog is an Irish traditional band that emerged in 1990 during the Belfast Folk Festival. The band plays Irish traditional music with a mixture of different other genres, including rock, jazz, blues, bluegrass, swing, salsa, polka and even rap. They originally had their name because of former singer Mick Daly's nick; "The Black Dog". Mick is now replaced with Kevin Doherty.

They met the famous group The Band in 1994, and recorded their album Doctor A's Secret Remedies at Levon Helm's studio in Woodstock, NY, with musical guests Garth Hudson and Randy Ciarlante. Rick Danko has joined Four Men and a Dog on a UK tour where they played some of The Band's classics.

https://en.wikipedia.org/wiki/Big_Four_Poster_Bed
"Big Four Poster Bed" is a song written by Shel Silverstein and performed by Brenda Lee featuring the Nashville Sound.[1] The song reached #4 on the U.S. country chart and #2 on the Canadian country chart in 1974.[2] It was featured on her 1974 album, Now.[3]

FOUR MEMBERS- CROSSES ARE QUADRANTS- crucified- AGAIN IF YOU LOOK AT THE MEMBERS LINES FOR WHEN THEY WERE AROUND THREE WERE CONSISTENT THE FOURTH WAS DIFFERENT AND CHANGED

https://en.wikipedia.org/wiki/The_Crucified

 

 

The Crucified is an American Christian hardcore and crossover thrash band from Fresno, California that formed in 1984. Its lineup is vocalist Mark Salomon, guitarist Greg Minier, bassist Jeff Bellew, and drummer Jim Chaffin. The Crucified released two studio albums and three demos. They toured California for the majority of their career and appeared at the Cornerstone Festival outside of Chicago several times. The band broke up in 1993 due to personal differences, but reunited in 2009.

 

In late 1984, drummer Jim Chaffin, guitarist Greg Minier, bassist Kirk Palmer, and vocalist Wayne Stonecipher started a band named K.G.B. in Fresno, California[1][2] The four teens knew each other as high school classmates. The name K.G.B. had no meaning to it, the members just thought initials "sounded cool".[3] In early 1985, K.G.B. was looking for a new vocalist due to the departure of Stonecipher. Minier asked his friend Mark Salomon to try out as vocalist.

CROSS IS A QUADRANT- ONE OF THE SONGS IS "BACK TO THE CROSS" CRUCIFIED ALBUM- ANOTHER SONG IS "CRUCIAL MOMENT" CRUCIAL COMES FORM THE WORD CROSS- CRUX

https://en.wikipedia.org/wiki/The_Crucified_(album)

The Crucified (album)

The Crucified is the first full-length album from the crossover thrash metal band The Crucified. The album was released in 1989.

 

Track listing[edit]

All music and lyrics by The Crucified.

 

"The Pit" - 3:12

"Diehard" - 2:56

"Your Image" - 1:24

"Getting A Grip On Things" - 3:22

"Hellcorn" - 3:15

"Rise" - 3:55

"One Demon To Another" 3:10

"Unity" - 3:28

"A Guy in a Suit and The Pope" - 1:42

"Back to the Cross" - 3:43

"Confidence" - 2:37

"The Insult Circus" - 2:50

"Thread" - 2:28

"Crucial Moment" - 3:28

ONE OF THE SONGS IS "SEALED NUMBER FOUR"- ALBUM CALLED NAILED TO THE CROSS

https://en.wikipedia.org/wiki/Nailed/Take_up_Your_Cross

Nailed/Take up Your Cross

From Wikipedia, the free encyclopedia

 

This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2008) (Learn how and when to remove this template message)

Nailed/Take up Your Cross

Compilation album by The Crucified

Released 1994

Genre Hardcore punk, crossover thrash

Length 35:18

Label Tooth & Nail

Producer The Crucified

The Crucified chronology

The Pillars of Humanity

(1991) Nailed/Take up Your Cross

(1994)

Nailed/Take up Your Cross is a compilation album from the crossover thrash metal band The Crucified of the band's first two demos that were originally released in 1986 (TUYC) and 1987 (Nailed).

 

Track listing[edit]

All music and lyrics by The Crucified.

 

Take up Your Cross

"Silent Scream" - 1:53

"You Don't Understand" - 1:39

"G.O.D." - 1:36

"Seal Number Four" - 3:02

"Conviction" - 1:43

"No Decay" - 2:00

"The Howl" - 3:27

"Be Warned" - 2:40

"Rebellion" - 1:13

"All You Need" - 1:57

"Problem Solution" - 2:17

"Directed Youth" - 1:57

"Washed Out/Apathy Medley" - 2:12

"Freedom" - 1:41

"I Want to be a Bug" - :45

FOUR OF THEM
https://en.wikipedia.org/wiki/Bless4
bless4 is a Japanese vocal ensemble from the United States consisting of the four brothers and sisters of the Kawamitsu family. Youngest sister Akino has her own solo musical career, and youngest brother Aiki has also released a solo single (with eldest brother Akashi arranging) to accompany his book.

https://en.wikipedia.org/wiki/The_Bobby_Fuller_Four

The Bobby Fuller Four (sometimes stylized as Bobby Fuller 4) was a popular mid-60s American rock & roll band started by Bobby Fuller. With its first incarnation formed in 1962 in El Paso, Texas, the group went on to produce some of its most memorable hits under Mustang Records in Hollywood, California. The band's most successful songs include "Let Her Dance", "I Fought the Law", and "Love's Made a Fool of You."

http://www.ascensionnow.co.uk/star-tetrahedron-merkaba.html

TETRAHEDRON IS FOUR- FERTILIZATION CELLS MAKE TETRAHEDRON

 

After fertilisation occurs in a living being, the fertilised egg divides to form two cells, then the cells divide again, going from two to four in a binary sequence - 1, 2, 4, 8, 16, etc.

 

The first four cells form a tetrahedron in a sphere and the apex of this tetrahedron points either to the north pole or the south pole, which probably determines the gender.

 

Next, the cells divide into eight; they now form one tetrahedron facing up and one tetrahedron facing down; a star tetrahedron in a sphere. This is called the Egg of Life. Every single life on Earth must pass through the Egg of Life stage. Science has recognized that this particular stage of development is different from any other, and it has many unique qualities that don’t occur at any other time in its development.

FOUR PIECES

https://en.wikipedia.org/wiki/Four_Pieces_for_Piano,_Op._119_(Brahms)

The Four Pieces for Piano (German: 'Klavierstücke') Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms. Together with the six pieces from Op. 118, Op. 119 was premiered in London in January 1894.

 

Contents [hide]

1 Background

2 The pieces

2.1 Intermezzo in B minor

2.2 Intermezzo in E minor

2.3 Intermezzo in C major

2.4 Rhapsody in E-flat major

3 Notes

4 External links

Background[edit]

The Four Pieces for Piano were published in 1892 and 1893 along with three other collections of smaller piano pieces: the Seven Fantasias Op. 116, Three Intermezzos Op. 117, Six Pieces for Piano Op. 118, and Four Pieces for Piano Op. 119.

FOUR PIECES

https://en.wikipedia.org/wiki/Ballades,_Op._10_(Brahms)

The Ballades, Op. 10 are lyrical piano pieces written by Johannes Brahms during his youth. They were dated 1854 and were dedicated to his friend Julius Otto Grimm. Their composition coincided with the beginning of the composer's lifelong affection for Clara Schumann, the wife of Robert Schumann, who was helping Brahms launch his career. Frédéric Chopin had written the last of his famous ballades only 12 years earlier, but Brahms approached the genre differently from Chopin, choosing to take its origin in narrative poetry more literally.[1]

 

Brahms's ballades are arranged in two pairs of two, the members of each pair being in parallel keys. The first ballade was inspired by a Scottish poem "Edward" found in a collection Stimmen der Völker in ihren Liedern compiled by Johann Gottfried Herder. It is also one of the best examples of Brahms's bardic or Ossianic style; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past.[2]

 

No. 1 in D minor. Andante

No. 2 in D major. Andante

No. 3 in B minor. Intermezzo. Allegro

No. 4 in B major. Andante con moto

The tonal center of each ballade conveys an interconnectedness between the four pieces: the first three each include the key signature of the ballade that follows it somewhere as a tonal center, and the fourth ends in the key signature of D major/B minor despite cadencing in B major.

BRAHMS HAD FOUR SYMPHONIES

https://en.wikipedia.org/wiki/Symphony_No._3_(Brahms)

The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. It is the shortest of Brahms' four symphonies; a typical performance lasts between 30 and 40 minutes.

BRAHMS HAD FOUR CHAMBER WORKS- THIS ONE HAD FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Clarinet_Trio_(Brahms)

The Clarinet Trio in A minor, Op. 114 is one of four chamber works composed by Johannes Brahms featuring the clarinet as a primary instrument. It was written in the summer of 1891 for the clarinetist Richard Mühlfeld, and is considered by scholars as part of a rebirth for the composer who in 1890 declared his String Quintet in G Major to be his final work.

 

Analysis

3.1 I. Allegro (sonata form, A minor, ends in A major)

3.2 II. Adagio (modified sonata form, no development, D major)

3.3 III. Andantino grazioso - Trio (ternary/minuet form, A major)

3.4 IV. Allegro (sonata form, A minor)

https://en.wikipedia.org/wiki/Piano_four_hands

Piano four hands (French: À quatre mains, German: Zu vier Händen, Vierhändig, Italian: a quattro mani) is a type of piano duet in which the two players play on a single piano.[1] A duet with the players playing separate instruments is generally referred to as a piano duo.[2]

 

Music written for piano four hands is usually printed so that the part for each player occupies the page which is directly opposite to him. The upper part, for the pianist sitting on the right and with the music on the right side of the page, is called primo, while the lower part, for the pianist on the left, is called secondo.

 

Original works[edit]

However, the increase of power and variety obtainable by two performers instead of one offers a legitimate inducement to composers to write original music in this form, and the opportunity has been by no means neglected, although cultivated to a less extent than might have been expected.

 

The earliest known printed works for the pianoforte à quatre mains were published in Dessau about 1782, under the title Drey Sonaten füre Clavier als Doppelstücke fur zwey Personen mit vier Handen von C. H. Müller. However, before this, Ernst Wilhelm Wolf, the musical director at Weimar in 1761, had written one or more sonatas for two performers, which were published after his death. So far as is known these were the first compositions of their kind, although the idea of the employment of two performers (but not on one instrument) may have originated with Johann Sebastian Bach, who wrote three concertos for two harpsichords, three for three, and one for four, all with accompaniment of stringed instruments. But the short compass of the keyboard, which in Bach's time and indeed until about 1770 never exceeded five octaves, was ill-adapted to the association of two performers on the same instrument, and it is doubtless on this account that the earlier composers have left so little music of the kind.

 

Haydn, Mozart, and Beethoven appear to have had but little inclination for this description of composition. According to Fétis, Haydn wrote but one piece 'à quatre mains,' a divertissement, which was never published (two other sonatas published under his name, op. 81 and 86, are spurious). Of the nine pianoforte duets by Mozart the two finest, the Adagio and Allegro in F minor and the Fantasia in F minor, were originally written for a mechanical organ or musical clock in a Vienna exhibition, and were afterwards arranged for piano by an unknown hand. Beethoven left but one sonata, op. 6, three marches, op. 45, and two sets of variations, none of which are of any great importance.

 

Among the best-known composers, Schubert made the fullest use of the original effects possible to music "à quatre mains." His compositions include the Sonata in C major for piano four-hands, D 812, the Divertissement à la hongroise, D 818, and Fantasia in F minor for piano four-hands, D 940. In addition to these he wrote fourteen marches, six polonaises, four sets of variations, three rondos, one sonata, one set of dances, and four separate pieces.

 

Among the German Romantic composers, the four-hand works of Schumann and Brahms are the most interesting. Mendelssohn wrote only one original work of the kind, although he himself arranged some of his orchestral works and also his Octet, and the Variations in B-flat major for piano, op. 83, in this form. Besides writing a number of small pieces for two performers, Schumann made a very novel and successful experiment in his Spanische Liebeslieder (op. 138), which consist of ten pieces for four voices, being songs, duets, and a quartet, with piano four-hand accompaniment. An analogous idea was later carried out by Brahms, who wrote two sets of waltzes for four hands and four voices (Liebeslieder Walzer, Op. 52, and Neue Liebeslieder, Op 65). Among his instrumental four-hands pieces, the best-known is 16 Waltzes, Op 39. A well-known piece by a French Romantic composer is the Dolly Suite by Fauré.

 

Organ four hands[edit]

Organ music for four hands is very rare, although the experiment has been made by Hesse, Höpner, and especially by Julius André, who has written twenty-four pieces for two performers on the organ; but no increased effect appears to be obtainable from such an arrangement which can at all compensate for its practical inconvenience.

TWO SETS OF FOUR IMPROMPTUS

https://en.wikipedia.org/wiki/Impromptus_(Schubert)

Franz Schubert's Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first two pieces in the first set were published in the composer's lifetime as Op. 90; the second set was published posthumously as Op. 142 in 1839 (with a dedication added by the publisher to Franz Liszt). The third and fourth pieces in the first set were published in 1857 (although the third piece was printed by the publisher in G major, instead of G-flat as Schubert had written it, and remained available only in this key for many years). The two sets are now catalogued as D. 899 and D. 935 respectively. They are considered to be among the most important examples of this popular early 19th-century genre.[1]

 

Four Impromptus, D. 899 (Op. 90)

1.1 No. 1 in C minor

1.2 No. 2 in E-flat major

1.3 No. 3 in G-flat major

1.4 No. 4 in A-flat major

2 Four Impromptus, D. 935 (Op. posth. 142)

2.1 No. 1 in F minor

2.2 No. 2 in A-flat major

2.3 No. 3 in B-flat major

2.4 No. 4 in F minor

THE SERIES OF FOUR UNFINISHED SYMPHONIES

https://en.wikipedia.org/wiki/Symphony,_D_615_(Schubert)

This sketch is the first of a series of four unfinished symphonies – D 615, D 708A, D 729 (the seventh), and D 759 (the eighth) – that are milestones in Schubert's symphonic development between the sixth and ninth symphonies. These four symphonies are in varying states of completion: D 615 has incomplete sketches of only two movements (the allegro and the finale), D 708A has incomplete sketches of all four movements, D 729 is structurally complete but was not fully orchestrated, and D 759 has the first two movements complete and orchestrated and a third movement in an incomplete piano sketch. Previously, his fourth symphony had had Beethovenian influence (although it is more reminiscent of the earlier Sturm und Drang movement), his fifth Mozartian influence, and his sixth Rossinian influence (Schubert had listened to Rossini's music before writing his sixth symphony and was extremely impressed, then incorporating aspects of Rossini's style into his music).

 

After writing the sixth symphony, Schubert experienced a crisis in his symphonic output, as he was not sure about whether he should continue on the path he was on in the sixth symphony of being influenced by Rossini. There is thus some Beethovenian influence present, which would persist throughout his symphonic output, but Schubert soon creates his own style and explores new territory. Additionally, he was still learning how to master instrumental writing, despite having done so for vocal works some years before. His mastery of songwriting was helped by the fact that the words gave hints as to the structure he would use, help that could not come in instrumental writing. This can be seen from the fact that Schubert had written his first six symphonies directly into full orchestral score, without sketching for piano beforehand, but D 615 and D 708A only survive as sketches in piano score. He returned to writing directly into orchestral score for his seventh symphony, although piano sketches exist for the eighth. These four unfinished symphonies thus show how Schubert was, as he stated in a letter from the mid-1820s, preoccupied with "planning a path to [write] a grand symphony [plans he would realize in the ninth symphony]", with his string quartets, octet and these unfinished symphonies as intermediate steps in this plan. The unusually large number of unfinished symphonies on the way to the ninth from the sixth show how preoccupied he was with writing this great symphony, and how important this plan was to him.

FOUR MOVEMENTS FOUR BAR STRUCTURAL UPBEAT

https://en.wikipedia.org/wiki/Symphony_No._5_(Schubert)

There are four movements:

 

Allegro in B♭, in cut (2

2) time.

Andante con moto in E♭, in 6

8 time.

Menuetto. Allegro molto in G minor, in 3

4 time, with a Trio in G major.

Allegro vivace in B♭, in 2

4 time.

 

This is the first Schubert symphony that does not begin with a slow introduction. What starts the movement is a four-bar structural upbeat similar to the one that begins the finale of his 4th symphony before the main theme starts on bar 5.[3] The main is a simple rising arpeggio with a dotted rhythm that dominates all of the themes of the exposition. The first movement is a slightly unusual sonata form since the recapitulation begins, as in the first movement of Mozart’s sonata facile (and Schubert's 'Trout' Quintet), in the subdominant, not in the main key of the piece as is more usual.

THE FOUR ELEMENTS

https://en.wikipedia.org/wiki/Les_quatre_éléments

Les quatre éléments (The Four Elements), is a cycle of four choral pieces by Franz Liszt, to words by Joseph Autran. The cycle was composed in 1844/5; the numbers of the pieces in the Liszt catalogue of Humphrey Searle are S.80a and S.80b (two versions). The title of the cycle was an allusion to the Ancient Greek concept of the four elements - earth, air, water and fire. Liszt also composed an overture for the cycle. Some of the music from the overture and the cycle was later reworked in Liszt's symphonic poem Les préludes (The preludes), which was premiered in 1854.

FOUR WALTZES- THE FOURTH IS DIFFERENT

https://en.wikipedia.org/wiki/Mephisto_Waltzes

The Mephisto Waltzes are four waltzes composed by Franz Liszt in 1859-62, 1880–81, 1883 and 1885. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas 3 and 4 were written for piano only. Of the four, the first is the most popular and has been frequently performed in concert and recorded.[1]

 

Bagatelle ohne Tonart[edit]

The Bagatelle sans tonalité (Bagatelle without tonality; also Bagatelle ohne Tonart) is sometimes included with Liszt's Mephisto Waltzes. The manuscript bears the title "Fourth Mephisto Waltz"[17] and may have been intended to replace the Fourth Mephisto Waltz when it appeared Liszt might not be able to finish it.[18] Critics point out the similarity in tonal center between these two pieces (D major) as confirmation of their composition shortly after one other in 1885 as well as Liszt's initial intent with the Bagatelle.[19]

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Piano_Concerto_No._1_(Liszt)

Franz Liszt composed his Piano Concerto No. 1 in E♭ major, S.124 over a 26-year period; the main themes date from 1830, while the final version is dated 1849. The concerto consists of four movements and lasts approximately 20 minutes. It premiered in Weimar on February 17, 1855, with Liszt at the piano and Hector Berlioz conducting.

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._4_(Mendelssohn)

The piece is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements:

 

Allegro vivace (A major)

Andante con moto (D minor)

Con moto moderato (A major)

Presto and Finale: Saltarello (A minor)

FOUR PIECES

https://en.wikipedia.org/wiki/Four_Pieces_for_String_Quartet_(Mendelssohn)

Felix Mendelssohn composed four pieces for string quartet in the last few years of his life from 1843 to 1847, which were published together shortly before his death as Op. 81:

 

Andante in E major

Scherzo in A minor

Capriccio in E minor

Fugue in E flat major

QUARTET IS FOUR- BEFORE HE DIED THE "FOUR PIECES OF STRING QUARTET" WERE PUBLISHED

https://en.wikipedia.org/wiki/String_Quartets_(Mendelssohn)

Felix Mendelssohn wrote six numbered string quartets which were published during his lifetime:

 

String Quartet No. 1 in E-flat major, Op. 12 composed in 1829

String Quartet No. 2 in A minor, Op. 13 composed in 1827

String Quartet No. 3 in D major, Op. 44, No. 1 composed in 1838

String Quartet No. 4 in E minor, Op. 44, No. 2 composed in 1837

String Quartet No. 5 in E-flat major, Op. 44, No. 3 composed in 1838

String Quartet No. 6 in F minor, Op. 80 composed in 1847

Mendelssohn also wrote another quartet in E-flat major at the age of 14, just after he had composed his 13 string symphonies. However, the quartet was never published in his lifetime and so was never assigned an opus number.

 

Mendelssohn's first two numbered quartets were published out of order, whilst his next three quartets were published together as Op. 44 and were all dedicated to Crown Prince Gustavus of Sweden.

 

Mendelssohn's final string quartet was composed after the death of his sister, which was a devastating blow to Mendelssohn. The quartet was also his last major work, as he died only two months after its completion. The piece was published shortly before his death along with a set of four pieces for string quartet also composed in his final years.

FOUR INTERCONNECTED MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._3_(Mendelssohn)

Mendelssohn's symphony is in four interconnected movements:

 

Andante con moto — Allegro un poco agitato (in A minor and in sonata form with introduction)

Vivace non troppo (in F major and in sonata form)

Adagio (in A major and in abridged sonata form)

Allegro vivacissimo — Allegro maestoso assai (in A minor → A major and in sonata form)

QUARTET IS FOUR FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Piano_Quartet_No._2_(Mendelssohn)

Felix Mendelssohn's Piano Quartet No. 2 in F minor, Op. 2, for piano, violin, viola and cello was completed on 3 December 1823 and published two years later. The work was dedicated to Mendelssohn's teacher, Carl Friedrich Zelter. Mendelssohn's three numbered piano quartets were the first works of his to be published, hence their opus numbers.

 

The work has four movements:

 

Allegro molto (F minor)

Adagio (D-flat major)

Intermezzo: Allegro moderato (F minor)

Finale: Allegro molto vivace (F minor)

IT IS SUBTITLED "LITTLE SCENES ON FOUR NOTES" AND THE FOUR NOTES ARE PUZZLES

https://en.wikipedia.org/wiki/Carnaval_(Schumann)

Carnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834–1835, and subtitled Scènes mignonnes sur quatre notes (Little Scenes on Four Notes). It consists of 21 short pieces representing masked revelers at Carnival, a festival before Lent. Schumann gives musical expression to himself, his friends and colleagues, and characters from improvised Italian comedy (commedia dell'arte).

 

The four notes are encoded puzzles, and Schumann predicted that "deciphering my masked ball will be a real game for you."[1] The 21 pieces are connected by a recurring motif. In each section of Carnaval there appears one or both of two series of musical notes. These are musical cryptograms, as follows:

 

A, E-flat, C, B – signified in German as A-S-C-H

A-flat, C, B – signified in German as As-C-H

E-flat, C, B, A – signified in German as S-C-H-A.

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._4_(Schumann)

The 1851 (published) version of the work is in four movements which follow each other without pause:[1]

 

Ziemlich langsam - Lebhaft (D minor-D major)

Romanze: Ziemlich langsam (A minor-A major)

Scherzo: Lebhaft (D minor)

Langsam; Lebhaft (D major)

SCHUMANN WROTE FOUR SYMPHONIES

 

https://en.wikipedia.org/wiki/Robert_Schumann

 

In 1841 he wrote two of his four symphonies, No. 1 in B-flat, Op. 38, "Spring" and No. 4 in D minor (the latter, a pioneering essay in 'cyclic form', was performed that year but published only much later after revision and extensive reorchestration as Op. 120).

FOUR NOTE MOTIF

https://en.wikipedia.org/wiki/Blumenstück_(Schumann)

Blumenstück features a falling four-note motif that Schumann had previously used to refer to Clara Wieck in Carnaval, Op. 9.[9] Rather than in his manuscript book, Schumann sketched Blumenstück in his Brautbuch; it was offered, along with the song cycle Myrthen, Op. 25, of 1840, as a bridal gift.[10]

FOUR CHARACTER PIECES

https://en.wikipedia.org/wiki/Märchenbilder_(Schumann)

Märchenbilder or Fairy Tale Pictures, for Viola and Piano, Op. 113, was written by Robert Schumann in March 1851. The work is dedicated to the German violinist and conductor Wilhelm Joseph von Wasielewski. It consists of four character pieces and is an original composition featuring the viola from the Romantic period.

THE FOUR SYMPHONIES BY SCHUMANN

https://en.wikipedia.org/wiki/List_of_symphonies_by_Robert_Schumann

List of symphonies by Robert Schumann

From Wikipedia, the free encyclopedia

There are four complete symphonies by the Romantic composer Robert Schumann, and one early incomplete symphony from 1832/33.

 

The symphonies[edit]

Number Key Opus Year Incipit

"Zwickau" G minor WoO 29 1832/33

1

"Spring" B♭ major Op. 38 1841 Schumann Sy1 Incipit.gif

2 C major Op. 61 1846 Schumann Sy2 Incipit.gif

3

"Rhenish" E♭ major Op. 97 1850 Schumann Sy3 Incipit.gif

4 D minor Op. 120 1841 (revised in 1851) Schumann Sy4 Incipit.gif

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Piano_Trio_No._3_(Schumann)

The Piano Trio No. 3 in G minor by Robert Schumann was written in 1851, and is his opus 110. It has four movements:

 

Bewegt, doch nicht zu rasch in G minor, in 6/8 time (with tempo dotted quarter notes 63 to the minute). In sonata form.

Ziemlich langsam in E-flat major, in 12/8 time and tempo 116 eighth notes to the minute.

Rasch in C minor, in 2/4 time and 138 quarter notes to the minute. A scherzo with two trios, with a tempo marking of Etwas zurückhaltend bis zm langsameren Tempo leading into the first trio, in C major with an upward chromatic theme, and a second trio in A-flat major which is more markedly rhythmic and diatonic in character.

Kräftig, mit Humor in G major, in common (4/4) time and 104 quarter notes to the minute. There is a prominent episode in this rondo which quotes the C major trio from the scherzo (now in D major).

MAHLERS FIRST FOUR SYMPHONIES ARE DISTINGUISHED FORM HIS OTHERS- THE FOUR ARE COLLECTIVELY KNOWN AS THE WUNDERHORN SYMPHONIES- MAHLER DESCRIBED THEM AS A "TETRALOGY"- HE CALLED HIS FIRST FOUR SYMPHONIES THE TETRALOGY----- TETRA IS FOUR

https://en.wikipedia.org/wiki/Symphony_No._4_(Mahler)

Mahler's first four symphonies are often referred to as the "Wunderhorn" symphonies because many of their themes originate in earlier songs by Mahler on texts from Des Knaben Wunderhorn ("The Boy's Magic Horn""). The fourth symphony is built around a single song, "Das himmlische Leben". It is prefigured in various ways in the first three movements and sung in its entirety by a solo soprano in the fourth movement.

 

Mahler composed "Das himmlische Leben" as a freestanding piece in 1892. The title is Mahler's own: in the Wunderhorn collection the poem is called "Der Himmel hängt voll Geigen" (an idiomatic expression akin to "there's not a cloud in the sky"). Several years later Mahler considered using the song as the seventh and final movement of his Symphony No. 3. While motifs from "Das himmlische Leben" are found in the Symphony No. 3, Mahler eventually decided not to include it in that work and, instead, made the song the goal and source of his Symphony No. 4. This symphony thus presents a thematic fulfilment of the musical world of No. 3, which is part of the larger tetralogy of the first four symphonies, as Mahler described them to Natalie Bauer-Lechner. Early plans in which the Symphony was projected as a six-movement work included another Wunderhorn song, "Das irdische Leben" ("Earthly Life") as a somber pendant to "Das himmlische Leben", offering a tableau of childhood starvation in juxtaposition to heavenly abundance, but Mahler later decided on a simpler structure for the score.[2]

THE SYMPHONY HAS FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._4_(Mahler)

A typical performance of the symphony lasts about an hour, making it one of Mahler's shorter symphonies. The performing forces are also small by Mahler's usual standard. These features have made it the most frequently-performed Mahler symphony, though in recent years the First has gained ground.

 

The movements of the symphony:

 

Bedächtig, nicht eilen (Moderately, not rushed) – sonata form

In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste) – scherzo and trio

Ruhevoll, poco adagio (Peacefully, somewhat slowly) – theme and variations

Sehr behaglich (Very comfortably) – strophic

THE SONG CYCLE CONSISTS OF FOUR LIEDER

https://en.wikipedia.org/wiki/Lieder_eines_fahrenden_Gesellen

Lieder eines fahrenden Gesellen ('Songs of a Wayfarer') is a song cycle by Gustav Mahler on his own texts. The cycle of four Lieder for medium voice (often performed by women as well as men) was written around 1884–85 in the wake of Mahler's unhappy love for soprano Johanna Richter, whom he met while conductor of the opera house in Kassel, Germany,[1] and orchestrated and revised in the 1890s.

 

Contents [hide]

1 Introduction

2 Contents

2.1 I – "Wenn mein Schatz Hochzeit macht" ("When My Sweetheart is Married")

2.2 II – "Ging heut Morgen übers Feld" ("I Went This Morning over the Field")

2.3 III – "Ich hab' ein glühend Messer" ("I Have a Gleaming Knife")

2.4 IV – "Die zwei blauen Augen von meinem Schatz" ("The Two Blue Eyes of my Beloved")

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._1_(Mahler)

In its final form, the symphony has four movements:

 

Langsam, schleppend (Slowly, dragging) Immer sehr gemächlich (very restrained throughout) D major

Kräftig bewegt, doch nicht zu schnell (Moving strongly, but not too quickly), Recht gemächlich (restrained), a Trio—a Ländler A major

Feierlich und gemessen, ohne zu schleppen (Solemnly and measured, without dragging), Sehr einfach und schlicht wie eine Volksweise (very simple, like a folk-tune), and Wieder etwas bewegter, wie im Anfang (once again somewhat more agitated, as at the start)—a funeral march based on the children's song "Frère Jacques" (or "Bruder Jacob") D minor

Stürmisch bewegt – Energisch (Stormily agitated – Energetic) F minor -> D major

(mahler sometimes did five movements) this one FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._6_(Mahler)

Symphony No. 6 in A minor by Gustav Mahler is a symphony in four movements, composed in 1903 and 1904 (revised 1906; scoring repeatedly revised). Mahler conducted the work's first performance at the Saalbau (de) concert hall in Essen on May 27, 1906. It is sometimes referred to by the nickname Tragische ("Tragic"). Mahler composed the symphony at what was apparently an exceptionally happy time in his life, as he had married Alma Schindler in 1902, and during the course of the work's composition his second daughter was born. This contrasts with the tragic, even nihilistic, ending of No. 6. Both Alban Berg and Anton Webern praised the work when they first heard it. Berg expressed his opinion of the stature of this symphony in a 1908 letter to Webern:

 

The work, in four movements, lasts around 80 minutes. The order of the inner movements is a matter of debate. The first published edition of the score (CF Kahnt, 1906) featured the movements in the following order:[3]

 

Allegro energico, ma non troppo. Heftig, aber markig.

Scherzo: Wuchtig

Andante moderato

Finale: Sostenuto – Allegro moderato – Allegro energico

QUARTET IS FOUR

https://en.wikipedia.org/wiki/Piano_Quartet_(Mahler)

The Piano Quartet in A minor (also referred to as the Piano Quartet Movement in A minor) is an early work of Gustav Mahler, the intended first movement of a piano quartet that was apparently never completed.[1] It is the only surviving piece of chamber music without voice composed by Mahler.[2]

FOUR MOVEMENTS MAIN THEME FOUR NOTES

https://en.wikipedia.org/wiki/Symphony_No._41_(Mozart)

The third movement, a Menuetto marked allegretto is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43–51) before the full orchestra returns. In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68–71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.

 

 

Finally, a remarkable characteristic of this symphony is the five-voice fugato (representing the five major themes) at the end of the fourth movement. But there are fugal sections throughout the movement either by developing one specific theme or by combining two or more themes together, as seen in the interplay between the woodwinds. The main theme consists of four notes:

 

The four-note theme is a common plainchant motif which can be traced back at least as far as Josquin des Prez's Missa Pange lingua from the sixteenth century. It was very popular with Mozart. It makes a brief appearance as early as his Symphony No. 1 in 1764. Later, he used it in the Credo of an early Missa Brevis in F major, the first movement of his Symphony No. 33 and trio of the minuet of this symphony.[6]

 

Scholars are certain Mozart studied Michael Haydn's Symphony No. 28 in C major, which also has a fugato in its finale and whose coda he very closely paraphrases for his own coda. Charles Sherman speculates that Mozart also studied Michael Haydn's Symphony No. 23 in D major because he "often requested his father Leopold to send him the latest fugue that Haydn had written."[7] The Michael Haydn No. 39, written only a few weeks before Mozart's, also has a fugato in the finale, the theme of which begins with two whole notes. Sherman has pointed out other similarities between the two almost perfectly contemporaneous works. The four-note motif is also the main theme of the contrapuntal finale of Michael's elder brother Joseph's Symphony No. 13 in D major (1764).

FOUR MOVEMENTS- USUAL ARRANGEMENT CLASSCIAL STYLE SYMPHONY

https://en.wikipedia.org/wiki/Symphony_No._40_(Mozart)

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

 

Molto allegro, 2

2

Andante, 6

8

Menuetto. Allegretto – Trio, 3

4

Finale. Allegro assai, 2

EXTREMELY FAMOUS- FOUR ACTS

https://en.wikipedia.org/wiki/The_Marriage_of_Figaro

The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro]), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.

FOUR MOVEMENTS FOUR BAR CODA

https://en.wikipedia.org/wiki/Symphony_No._35_(Mozart)

This movement closes with a short four-bar coda.

 

Movements[edit]

The symphony is in four movements:

 

Allegro con spirito, 2

2

Andante, 2

4

Menuetto, 3

4

Presto, 2

PIANO CONCERTOS 1-4

https://en.wikipedia.org/wiki/Piano_Concertos_Nos._1–4_(Mozart)

Piano Concertos Nos. 1–4 (Mozart)

From Wikipedia, the free encyclopedia

Piano Concertos

Nos. 1–4

Arrangements of sonatas by other composers by W. A. Mozart

MozartVeronadallaRosa.jpg

The young composer in 1770

Key

F major

B-flat major

D major

G major

Catalogue K. 37, 39–41

Composed 1767

Scoring

Piano orchestra

Wolfgang Amadeus Mozart began his series of preserved piano concertos with four that he wrote at the age of 11, in Salzburg: K. 37 and 39–41. The autographs, all held by the Jagiellonian Library, Kraków, are dated by his father as having been completed in April (K. 37) and July (K. 39–41) of 1767. Although these works were long considered to be original, they are now known to be orchestrations of sonatas by various German virtuosi. The works on which the concertos are based were largely published in Paris, and presumably Mozart and his family became acquainted with them or their composers during their visit to Paris in 1763–64.

 

By using movements from the sonatas of other composers, the young Mozart seems to have begun to learn how to cope with the structural problems of composing in the piano concerto form.[1] Indeed, it may be that Leopold Mozart had devised this as a compositional teaching method. If so, it seems that this may have been the first time this had been done by the composer. This is perhaps supported by two facts: First, Leopold excluded the first four concertos from his 1768 list, suggesting that he may not have considered them true compositions by his son. Second, the autographs of the four works are the joint products of both Mozart and Leopold (although K. 41 is mainly in Leopold's hand alone).[1]

MOZART USES THE FAMOUS FOUR NOTE MOTIF OF THE JUPITER SYMPHONY (JUPITER WAS SEEN AS THE SUPREME G- AND WAS REPRESENTED BY NUMBER 4)

 

https://en.wikipedia.org/wiki/Symphony_No._1_(Mozart)

 

In the second movement, the eight-year-old Mozart makes use of the four note motif that appears in the finale of his Jupiter symphony, No. 41. The four notes, Do, Re, Fa, Mi, make an appearance in several of Mozart's works, including his Symphony No. 33.[3] This theme is stated by the horns in his first symphony.

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Symphony_No._4_(Beethoven)

The Symphony No. 4 in B♭ major, Op. 60, is a symphony in four movements composed by Ludwig van Beethoven in the summer of 1806.[1] It was premièred in March 1807 at a private concert at the home of Prince Franz Joseph von Lobkowitz.[2]

 

The work is in four movements:

 

Adagio – Allegro vivace, 2

2 (B♭ minor – B♭ major)

Adagio, 3

4 (E♭ major)

Allegro vivace, 3

4 (B♭ major)

Allegro ma non troppo, 2

4 (B♭ major)

FOUR MOVEMENTS

https://en.wikipedia.org/wiki/Piano_Sonata_No._4_(Beethoven)

Ludwig van Beethoven's Piano Sonata No. 4, in E-flat major, Op. 7, sometimes nicknamed the Grand Sonata, dedicated to his student Babette, the Countess Keglevics, has four movements.[1][2] This piano sonata was composed in Bratislava, in 1796, in November, during his visit of Keglevich Palace in Bratislava.[citation needed]

 

The Sonata is in four movements:

 

Allegro molto e con brio, 6/8

Largo, con gran espressione, 3/4 in C major

Allegro, 3/4; Trio in E-flat minor

Rondo: Poco allegretto e grazioso, 2/4

THE FAMOUS FOUR NOTES THE FOURTH IS DIFFERENT

https://en.wikipedia.org/wiki/Symphony_No._5_(Beethoven)

The BBC, during World War Two, prefaced its broadcasts to Europe with those four notes, played on drums.[4][5][6]

 

The symphony consists of four movements. The first movement is Allegro con brio; the second movement is Andante con moto; the third movement is a Scherzo Allegro; the fourth movement is Allegro.

 

It begins by stating a distinctive four-note "short-short-short-long" motif twice: (About this sound listen (help·info))

 

{\clef treble \key c \minor \time 2/4 {r8 g'8[ g'8 g'8] | ees'2\fermata | r8 f'8[ f'8 f'8] | d'2~ | d'2\fermata | } }

 

The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco versions to rock and roll covers, to uses in film and television

Ludwig van Beethoven's late string quartets are the following works:

https://en.wikipedia.org/wiki/Late_string_quartets_(Beethoven)

Opus 127: String Quartet No. 12 in E-flat major (1825)

Opus 130: String Quartet No. 13 in B-flat major (1825)

Opus 131: String Quartet No. 14 in C-sharp minor (1826)

Opus 132: String Quartet No. 15 in A minor (1825)

Opus 133: Große Fuge in B-flat major for string quartet (1826; originally the finale to Op. 130; it also exists in a piano four hands transcription, Op. 134)

Opus 135: String Quartet No. 16 in F major (1826)

THERE ARE 16 SQUARES QMR--- BEETHOVEN HAD 16 QUARTETS- HIS 16TH QUARTET HAD FOUR MOVEMENTS

https://en.wikipedia.org/wiki/String_Quartet_No._16_(Beethoven)

String Quartet No. 16 (Beethoven)

From Wikipedia, the free encyclopedia

The String Quartet No. 16 in F major, op. 135, by Ludwig van Beethoven was written in October 1826[1] and was the last major work he completed. Only the final movement of the Quartet op. 130, written as a replacement for the Große Fuge, was composed later. The op. 135 quartet was premiered by the Schuppanzigh Quartet in March 1828, one year after Beethoven's death.

 

The work is more lighthearted and is on a smaller scale than the other late quartets. Under the introductory slow chords in the last movement Beethoven wrote in the manuscript "Muß es sein?" (Must it be?) to which he responds, with the faster main theme of the movement, "Es muß sein!" (It must be!). The whole movement is headed "Der schwer gefaßte Entschluß" ("The Difficult Decision").

 

It is in four movements:

 

Allegretto in F major

Vivace in F major

Lento assai, cantante e tranquillo in D-flat major

“Der schwer gefaßte Entschluß (The difficult decision).” Grave, ma non troppo tratto (Muss es sein?/Must it be?) – Allegro (Es muss sein!/It must be!) – Grave, ma non troppo tratto – Allegro in F major

SOME SAY THAT BEETHOVEN'S 15TH OF THE 16 QUARTETS INSPIRED TS ELLIOT TO WRITE FOUR QUARTETS

https://en.wikipedia.org/wiki/String_Quartet_No._15_(Beethoven)

Some credit this quartet as T. S. Eliot's impetus to write the Four Quartets; certainly he was recorded in a letter to Stephen Spender as having a copy of the A minor quartet on the gramophone: 'I find it quite inexhaustible to study. There is a sort of heavenly or at least more than human gaiety about some of his later things which one imagines might come to oneself as the fruit of reconciliation and relief after immense suffering; I should like to get something of that into verse before I die.'[5]

STANDARD FOUR MOVEMENTS 16 BAR CODA- quadrant number bars

https://en.wikipedia.org/wiki/String_Quartet_No._12_(Villa-Lobos)

As in all of Villa-Lobos's string quartets except the first, there are the traditional four movements:

 

Allegro

Andante malinconico

Allegretto leggiero

Allegro ben ritmato

Departing from the traditional sonata-allegro form, Villa-Lobos casts the opening movement of this quartet in a simple ABA ternary form. Each section is thirty-two bars in length, subdivided into sixteen- , eight- , and four-bars segments, and this main body of the movement is followed by a sixteen-bar coda. An interesting detail of the manuscript score is that Villa-Lobos uses the Portuguese tempo marking Alegro, instead of the Italian spelling which is his normal habit (Gutiérrez 2006, 4). The middle, B section is marked meno, and is in the rhythm of a modinha (Estrella 1978, 100). The composer's biographer, Eero Tarasti, regards this as a regression to Villa-Lobos's earlier, clumsier style of quartet writing, and finds the texture "considerably more complicated than in previous quartets and the sound lacks transparency" (Tarasti 1995, 316). Juan José Gutiérrez, on the contrary, views the quartet as relatively simple and concise, marking the beginnings of a neoclassical concern with balance and symmetry of structure in the composer's late period (Gutiérrez 2006, 3–4).

SOME PEOPLE SAY A QUADRUPLE ENTENDRE HAS NEVER BEEN ACCOMPLISHED OTHERS ARGUE IT HAS BEEN ACCOMPLISHED BY A FEW BUT IT IS THE HIGHEST- FOURTH IS ALWAYS DIFFERENT

https://genius.com/discussions/420-Quadruple-entendre-and-its-not-eminem

Quadruple Entendre! (and it's not Eminem!)

Follow

Upvote+42Downvote

6sxnwsqitmsgep8eie1fCarlosDanger69 20,152

 

Quadruple Entendre:

“You getting blackmailed for that white, girl”

The most literal interpretation that fits the storyline of the song: her brother’s got dirt on her, and it’s all the coke she’s been snorting.

 

I know some work better than others, but I also think all are valid interpretations. I really believe this is one of the heaviest lyrics in music history. It does just so much work in this song.

https://en.wikipedia.org/wiki/Moon%27s_Milk_(In_Four_Phases)
Moon's Milk (In Four Phases) is a release by Coil that compiles four of their singles onto a double CD. The two disc album compiles the CD versions of Spring Equinox, Summer Solstice, Autumn Equinox and Winter Solstice (originally recorded throughout 1998, and released seasonally from March 1998 to January 1999). The album also has a live version of "Amethyst Deceivers" hidden at the end of the first disc, following several minutes of silence after "A Warning From The Sun (For Fritz)". This recording of "Amethyst Deceivers" was later released on Live Two, although the Moon's Milk version is a slightly longer edit.[1] The release was given the catalog number ESKATON 023 and features artwork by Steven Stapleton.

FOUR BALLADS

https://en.wikipedia.org/wiki/Sleeping_Sun

"Sleeping Sun (Four Ballads of the Eclipse)" is the fifth single by Nightwish. The first recording of the song dates back from May and June 1999, it was recorded at two studios, Caverock and Finnvox, both in Finland. Together with the songs "Walking in the Air", "Angels Fall First" and "Swanheart", Sleeping Sun was released for the first time on the MCD Sleeping Sun – Four Ballads of the Eclipse. Later in 1999, the song was added to most new releases of the 1998 album Oceanborn, and in 2004 also on the compilation album Tales from the Elvenpath.

BAND OF FOUR ANIMATED CHARACTERS

https://en.wikipedia.org/wiki/Gorillaz

Gorillaz are a British virtual band created in 1998 by musician Damon Albarn and artist Jamie Hewlett. The band consists of four animated members: 2-D (lead vocals, keyboards), Murdoc Niccals (bass guitar and vocals), Noodle (guitar, keyboards) and Russel Hobbs (drums and percussion). These members are fictional and are not personas of any "real life" musicians involved in the project.[5] Their fictional universe is explored through the band's website and music videos, as well as a number of other media, such as short cartoons. In reality, Albarn is the only permanent musical contributor, and the music is often a collaboration between various musicians. Writers and critics have described their music as alternative rock,[1] Britpop,[6] trip hop,[7][8] hip hop,[9] electronica, indie, dub, reggae and pop.[10][11]

FOUR PARTS

https://en.wikipedia.org/wiki/Death_and_Transfiguration

Structure[edit]

There are four parts (with Ritter's poetic thoughts condensed):

 

Largo (The sick man, near death)

Allegro molto agitato (The battle between life and death offers no respite to the man)

Meno mosso (The dying man's life passes before him)

Moderato (The sought-after transfiguration)

https://en.wikipedia.org/wiki/Ruhe,_meine_Seele!

 

"Ruhe, meine Seele!", Op. 27, No. 1, is the first in a set of four songs composed by Richard Strauss in 1894. It was originally for voice and piano, and not orchestrated by Strauss until 1948, after he had completed one of his Four Last Songs, "Im Abendrot".[2] The words are from a poem "Ruhe, meine Seele!" (Rest, my soul) written by the poet Karl Henckell.

TWO FOURS IN THE TITLE---- 5446---- GIVE IT TO ME ONE TIME, TWO TIMES, THREE TIMES, FOUR TIMES FOUR CLAPS----1:15  

 

https://www.youtube.com/watch?v=UhH1Lxv-8sA

quadrant

 

Give it to me one time

Give it to me two time

Give it to me three time

Give it to me four time

FOUR GREEN FIELDS FOUR PROVINCES OF IRELAND

https://en.wikipedia.org/wiki/Four_Green_Fields

Four Green Fields

From Wikipedia, the free encyclopedia

This article is about the folk-song. For the stained glass art work, see My Four Green Fields.

Four Green Fields is a 1967 folk song by Irish musician Tommy Makem, described in the New York Times as a "hallowed Irish leave-us-alone-with-our-beauty ballad."[1] Of Makem's many compositions, it has become the most familiar, and is part of the common repertoire of Irish folk musicians.[2]

 

Content and meaning[edit]

The song is about Ireland (personified as an “old woman”) and its four provinces (represented by “green fields”), one of which remains occupied (”taken”) by the British (the “strangers”) despite the best efforts of the Irish people (her “sons”), who died trying to defend them. Its middle stanza is a description of the violence and deprivation experienced by the Irish, including the people in Northern Ireland. At the end of the song, one of her fields still shows the promise of new growth:

 

"But my sons have sons, as brave as were their fathers;

My fourth green field will bloom once again," said she.

The song is interpreted as an allegorical political statement regarding the constitutional status of Northern Ireland. The four fields are seen as the Provinces of Ireland with Ulster being the "field" that remained part of the United Kingdom after the Irish Free State separated. The old woman is seen as a traditional personification of Ireland herself (see Kathleen Ni Houlihan). The words spoken by the woman in Makem's song are taken directly from "Cathleen ni Houlihan", an early play by W. B. Yeats.

 

Background[edit]

The concept of Four Green Fields representing the four provinces of Ireland had been used before, having been previously used in the 1939 stained glass work My Four Green Fields by Evie Hone.

 

Makem frequently described the song as having been inspired by a drive through the "no man's land" adjoining Northern Ireland, where he saw an old woman tending livestock. She was oblivious to the political boundaries that loomed so large in the public's eye; the land was older than the argument, and she didn't care what was shown on the map.

 

Makem commonly sang the song as an encore.

https://en.wikipedia.org/wiki/Four_Winds

Four Winds is an EP by the indie rock band Bright Eyes, that was released on March 6, 2007. The title track is the first single from their album Cassadaga. The other 5 tracks are exclusive b-sides from the 2006 recording sessions. It is marketed as being "quietly enchanting" and including "a wandering country charm and all of the story-telling seductiveness of earlier work. The fiddle refrain in the verse utilizes a melody identical to that of the vocal refrain ("Na, na na, na na na na") in Joan Baez's rendition of "The Night They Drove Old Dixie Down."[1] The song "Four Winds" was ranked #5 on Rolling Stone's list of the 100 Best Songs of 2007.[2]

BEST KNOWN CUBAN SONG FOUR VERSES

https://en.wikipedia.org/wiki/Guantanamera

"Guantanamera" (Spanish: "from Guantánamo, feminine" indicating a woman from Guantánamo[1]) is perhaps the best known Cuban song and that country's most noted patriotic song, especially when using a poem by the Cuban poet José Martí for the lyrics. In 1966, a version by American vocal group The Sandpipers, based on an arrangement by The Weavers from their May 1963

 

The better known "official" lyrics are based on selections from the poetry collection Versos sencillos (Simple Verses) by Cuban poet and independence hero José Martí, as adapted by Julián Orbón. The four verses of the song were adapted from four stanzas of Versos sencillos, each from a different poem. They are presented here in the original Spanish (poem:stanza).

 

I:1

V:3

XXXIX:1

III:2

Yo soy un hombre sincero

De donde crece la palma,

Y antes de morir yo quiero

Echar mis versos del alma.

Mi verso es de un verde claro

Y de un carmín encendido:

Mi verso es un ciervo herido

Que busca en el monte amparo.

Cultivo una rosa blanca

En julio como enero,

Para el amigo sincero

Que me da su mano franca.

Con los pobres de la tierra

Quiero yo mi suerte echar:

El arroyo de la sierra

Me complace más que el mar.

By José Fernández[edit]

Given the song's musical structure, which fits A-B-A-B (sometimes A-B-B-A) octosyllabic verses, "Guantanamera" lent itself from the beginning to impromptu verses, improvised on the spot, similar to what happens with the Mexican folk song "La Bamba". Joseíto Fernández first used the tune to comment on daily events on his radio program by adapting the lyrics to the song's melody, and then using the song to conclude his show. Through this use, "Guantanamera" became a popular vehicle for romantic, patriotic, humorous, or social commentary in Cuba and elsewhere in the Spanish-speaking world.

FOUR NOTE MOTIF FOUR MOVEMENTS
https://en.wikipedia.org/wiki/Symphony_No._4_(Tchaikovsky)
The composer's description of the symphony's opening fanfare as a metaphor for "Fate" becomes more telling in the context of a letter he wrote Sergei Taneyev. He wrote Taneyev that the Fourth Symphony was both program music and a reflection of Beethoven's Fifth Symphony in the central idea of its program.[7] Keller has mentioned a parallel between the four-note motif which opens Beethoven's Fifth and the fanfare at the outset of Tchaikovsky's Fourth. Like Beethoven, Tchaikovsky uses his fanfare as a structural marker. Moreover, because of both the length and unorthodox form of the symphony, he may have felt using such a marker was a musical necessity.[8]

Form[edit]
The symphony is in four movements:

https://www.youtube.com/watch?v=wzBAd7OcDE4

You know Beethoven wrote a full symphony from just four notes. In fact he wrote THREE full symphonies from those four notes. Here is why, how, and how they were cleverly disguised. Genius?

SHOW MORE

MOZARTS FIRST SYMPHONY MAKES USE OF THE FOUR NOTES THAT HE USES IN ONE OF HIS MOST FAMOUS SYMPHONIES THE JUPITER SYMPHONY- RECALL JUPITER WAS SEEN AS THE HIGHEST GOD AND EVEN THE ONLY GOD AND JUPITER WAS REPRESENTED BY THE NUMBER FOUR

https://en.wikipedia.org/wiki/Symphony_No._1_(Mozart)

 

The Symphony No. 1 in E♭ major, K. 16, was written in 1764 by Wolfgang Amadeus Mozart at the age of eight years.[1] By this time, he was already notable in Europe as a wunderkind performer, but had composed little music.

 

In the second movement, the eight-year-old Mozart makes use of the four note motif that appears in the finale of his Jupiter symphony, No. 41. The four notes, Do, Re, Fa, Mi, make an appearance in several of Mozart's works, including his Symphony No. 33.[3] This theme is stated by the horns in his first symphony.

BEETHOVENS FOURTH NOTE WAS CALLED THE SUPRISE NOTE- THE FOURTH IS ALWAYS DIFFERENT

http://fundamentals-of-piano-practice.readthedocs.io/en/latest/chapter1/ch1_research/IV.4.html

Let’s see how Beethoven used his intuitive understanding of spatial symmetry to compose his 5th Symphony. That famous first movement is constructed using a short musical theme consisting of four notes; the first three are repetitions of the same note. Since the fourth note is different, it is called the surprise note and Beethoven’s genius was to assign the beat to this note.

http://fundamentals-of-piano-practice.readthedocs.io/en/latest/chapter1/ch1_research/IV.4.html

Beethoven was particularly fond of this four-note theme, and used it in many of his compositions, such as the first movement of the Appassionata piano sonata, see bar 10, LH.

MOZART USED THE SAME FOUR NOTE MOTIF AS HAYDN (THE FATHER OF THE STRING QUARTET)

https://www.theguardian.com/music/tomserviceblog/2014/may/27/symphony-guide-mozart-41st-jupiter-tom-service

But that’s not, in itself, an original idea – and neither is the four-note melodic tag (C-D-F-E) that is catalyst for this explosion of contrapuntal mastery. Mozart borrowed his supposed symphonic innovation from the Haydn brothers, Joseph (the famous one) and Michael (less famous, but equally influential on Mozart). We know that Mozart wanted to hear the latest fugues from Michael’s symphonies, which were written in Salzburg, and he asked his father to send them to him. That means he would have known the finale of Michael’s 28th Symphony, with its obsessive fugato, also in C major; probably the fugue that crowns his 34th, in E flat major; and quite possibly another fugue-finale from his 39th symphony, also in C major, composed just a few months before Mozart’s. The similarities between Michael’s 29th and 39th, and Mozart’s 41st are sometimes startling, as you can hear. Even more shocking, have a listen to this, the final movement of Joseph’s 13th Symphony, written in 1764. There’s the very same four-note idea used as the basis of a contrapuntal work-out of a symphonic finale. There ain’t nothing so old – or so new – as a fugato-style finale.

THE FOUR NOTE MOTIF USED BY MOZART AND THOMAS OF AQUINAS, PANGE LUNGUA JOSQUIN DES PREZ- JOHANNES FUX

https://www.theguardian.com/music/tomserviceblog/2014/may/27/symphony-guide-mozart-41st-jupiter-tom-service

And that four-note motif has a history, and not just in Mozart’s own music (you can hear it most clearly in the Credo of his Missa Brevis K192, and in his 1st and 33rd Symphonies) and that of his contemporaries. In fact, it goes back to a 13th-century hymn attributed to Thomas of Aquinas, Pange Lingua, which Josquin des Prez used as the basis for probably his last Mass setting in 1515. Since then, the four-note melody at the start of the third line of the original hymn (which Josquin employs as a contrapuntal catalyst in his Kyrie) has turned up throughout musical history, especially as a fugal inspiration. That includes its use by Johannes Fux, the 17th and 18th century composer and theorist, in his famous textbook of musical polyphony Gradus ad Parnassum (which Mozart knew, and used in his own teaching of his English pupil, Thomas Attwood).

THE BACH MOTIF IS FOUR NOTES USED BY BACH AND IT MAKES A CROSS/QUADRANT- MANY COMPOSERS HAVE USED IT SINCE BACH

http://encyclopedia.kids.net.au/page/ba/BACH_motif

BACH motif

 

In music, the BACH motif is the sequence of notes B flat, A, C, B natural.

The possibilty of being able to spell the surname Bach in this way comes about because in German B indicates what in English is called B flat, while H indicates what in English is called B natural.

This four-note motif has been used by a number of composers, most usually as a homage to Johann Sebastian Bach. The first known example, however, is in a piece by Jan Pieterzoon Sweelinck[?]. It is possible, though not certain, that he used it in homage to one of Johann Sebastian's ancestors, many of whom were themselves musicians.

J. S. Bach himself used it as a fugue subject in the final part of Die Kunst der Fuge[?] (around 1750), a work he did not complete before he died. The motif also appears briefly in an earlier work, the Kleines harmonisches Labyrinth, BWV591, in the penultimate bar, although this is not thought to be very significant and the work may even be spurious (Johann David Heinichen[?] has been suggested as a possible composer).

A fugue for keyboard in F major by one of Bach's sons, probably either Johann Christian Bach or Carl Philipp Emanuel Bach, exists using the motif, but it was not until the 19th century when interest in Bach was revived that the motif began to be used with any regularity.

Perhaps because it was used by Bach himself in a fugue, the motif is often used by other composers in fugues or other complex contrapuntal writing.

Works which prominently feature the BACH motif include:

Robert Schumann - Six Fugues for organ, pedal piano or harmonium[?], opus 60 (1845)

Franz Liszt - Fantasie und Fuge �ber das Thema B-A-C-H, for organ (1855, later arranged for piano)

Max Reger[?] - Fantasia and Fugue on B-A-C-H for organ (1900)

Ferruccio Busoni - Fantasia contrappuntistica for piano (first version 1910, later versions 1912 and 1922)

Arthur Honegger - Pr�lude, Arioso, Fughette for piano (1932, later arranged for string orchestra)

Francis Poulenc - Valse-improvisation sur le nom Bach for piano (1932)

Anton Webern - String Quartet (1937-38) - the tone row is based on the BACH motif

Jean Coulthard[?] - Variations on BACH for piano (1952)

Arvo P�rt - Collage over B-A-C-H for strings, oboe, harpsichord and piano (1964)

The motif features in passing in a number of other works including Arnold Schoenberg's Variations for Orchestra (1926-28) and his String Quartet No. 3 (1927), and Krzysztof Penderecki's St Luke Passion.

SHOSTAKOVICH ALSO HAD HIS OWN FOUR NOTE MOTIF LIKE BACH DID (A LOT OF THEM HAD FOUR NOTE MOTIFS- I POSTED ALL THIS STUFF A LONG TIME AGO AND TONS OF OTHER STUFF)

https://en.wikipedia.org/wiki/DSCH_motif

DSCH is a musical motif used by the composer Dmitri Shostakovich to represent himself. It is a musical cryptogram in the manner of the BACH motif, consisting of the notes D, E flat, C, B natural, or in German musical notation D, Es, C, H (pronounced as "De-Es-Ce-Ha"), thus standing for the composer's initials in German transliteration: D. Sch. (Dmitri Schostakowitsch), also pronounced as "De-Es-Ce-Ha."

THE HIGHEST GOES TO IS QUADRUPLE CHANTS- BUT TRANSCENDENT/RARE

https://en.wikipedia.org/wiki/Anglican_chant

Double, triple and quadruple chants[edit]

The example above is a single chant. This is mostly only used for very short psalms (half a dozen verses or so).

 

The most commonly used chants are double chants. These are twice the length of a single chant. The music of the chant is repeated for every pair of verses. This reflects the structure of the Hebrew poetry of many of the psalms: Each verse is in two halves - the second half answers the first; the verses are in pairs - the second verse answers the first.

 

Triple and quadruple chants are considerably rarer. They appeared from the latter part of the 19th century to cover some of the exceptions to this format. They set the verses of the psalm in groups of three or four verses respectively. Psalm 2 (for example) is suited to a triple chant; a quadruple chant might be used for Psalm 78.

 

A double chant is divided into "quarters", each of which has the music for half a verse. Triple and quadruple chants may also be described as containing six or eight quarters.

 

If the entire text (or a section of it) has an odd number of verses, the second half of the chant is usually repeated at an appropriate point, which may be marked "2nd part". Similarly, "3rd part" markings may be used for triple chants.

TETRACHORDS- TETRA IS FOUR- I POSTED A TON OF STUFF ON TETRACHORD IT WAS THE BASIS OF GREEK MUSIC ALL THAT

https://en.wikipedia.org/wiki/Gregorian_chant

The scale patterns are organized against a background pattern formed of conjunct and disjunct tetrachords, producing a larger pitch system called the gamut

USED THE TETRACHORD- TETRA IS FOUR

https://en.wikipedia.org/wiki/Gregorian_chant

In contrast to the ancient Greek system of tetrachords (a collection of four continuous notes) that descend by two tones and a semitone, the Enchiriadis writings base their tone-system on a tetrachord that corresponds to the four finals of chant, D, E, F, and G. The disjunct tetrachords in the Enchiriadis system have been the subject of much speculation, because they do not correspond to the diatonic framework that became the standard Medieval scale (for example, there is a high F#, a note not recognized by later Medieval writers). A diatonic scale with a chromatically alterable b/b-flat was first described by Hucbald, who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant.

THE FOUR MARIAN ANTIPHONS

https://en.wikipedia.org/wiki/Gregorian_chant

At the close of the Office, one of four Marian antiphons is sung. These songs, Alma Redemptoris Mater (see top of article), Ave Regina caelorum, Regina caeli laetare, and Salve, Regina, are relatively late chants, dating to the 11th century, and considerably more complex than most Office antiphons. Apel has described these four songs as "among the most beautiful creations of the late Middle Ages."[66]

I POSTED ALL THIS STUFF BEFORE- but now I'm posting links you can read it all in my over 60 QMR BOOKS- FOUR HYMNS

https://en.wikipedia.org/wiki/Hymns_to_Mary

The Marian Anthems are sung primarily by Roman Catholics particularly in religious communities after Compline. There are also used in Anglican communities where the traditional Divine Office is observed. Traditionally, they were also said after Lauds, and after each Hour when sung in choir, if the choir was then to disperse. These four antiphons were originally only performed in connection with psalms, but have been used as detached chants since 1239.[24]

 

Although there are a number of Marian antiphons, some of great antiquity, the term is most often used to refer to the four hymns which have been used as detached chants since 1239:[24]

 

Alma Redemptoris Mater (Advent through February 2)

Ave Regina Caelorum (Presentation of the Lord through Good Friday)

Regina Coeli (Easter season)

Salve Regina (from first Vespers of Trinity Sunday until None of the Saturday before Advent)

There have been exceptions to this schedule in different monastic traditions over the years, e.g. the Benedictine monasteries were using them in the 14th century.[25] In current usage the liturgical year is divided into four periods, with each period associated with one of the four Marian antiphons, which is sung at the end of Compline or Vespers during that period. For example, Alma Redemptoris Mater is sung from the first Sunday in Advent until February 2.

 

The four Marian antiphons (with occasional variations in the text) are often set to polyphonic music for choir or as solo arias. The Gregorian melodies exist both in elaborate solemn forms and simplified versions.[26]

FOUR LINE STAFF (three spaces)- (now five line staff four spaces)

https://en.wikipedia.org/wiki/Neume

Neumes are written on a four-line staff on the lines and spaces, unlike modern music notation, which uses five lines. Chant does not rely on any absolute pitch or key; the clefs are only to establish the half and whole steps of the solfege or hexachord scale: "ut", "re", "mi", "fa", "sol", "la", "ti", "ut". The clef bracketing a line indicates the location "ut" in the case of the C clef, or "fa" in the case of the F clef as shown:

FOUR AMBROSE HYMNS SURVIVE

https://en.wikipedia.org/wiki/Ambrosian_chant

Ambrose composed original hymns as well, four of which still survive, along with music which may not have changed too much from the original melodies.

AS I ALREADY ILLUSTRATED THERE ARE EIGHT MODES BUT THEY ARE DIVIDED INTO FOUR PAIRS

https://en.wikipedia.org/wiki/Gregorian_mode

Tonality[edit]

In the traditional system of eight modes (in use from the 8th century up to 1547) there are four pairs, each pair comprising an authentic mode and a plagal mode.

ALLELUIA MEANS PRAISE YAH- PRAISE THE TETRAGRAMMATON

 

https://en.wikipedia.org/wiki/Alleluia

 

The word "Alleluia" or "Hallelujah" (from Hebrew הללו יה), which literally means "Praise ye Yah",[1] a short form of "Praise Yahweh" and often rendered as "praise the Lord".[2][3][4][5]

FOUR SECTIONS

https://en.wikipedia.org/wiki/Coronation_anthem

This piece sets a text developed by Henry Purcell for the 1685 coronation, consisting of a shortened adaptation of verses from Psalm 45 (verses 1, 10, 12) and Book of Isaiah (chapter 49, verse 23). In 1727 it was sung at the end of the coronation of queen Caroline, with adaptations by Handel to make its words more appropriate for a queen. The music is in four sections and characterised by a more refined and distinguished air than the other anthems.

HANDEL "USED ASCENING FOURTH AS UNIFYING MOTIF"

https://en.wikipedia.org/wiki/Messiah_(Handel)

For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth" as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other occasions. Nevertheless, Luckett finds this thesis implausible, and asserts that "the unity of Messiah is a consequence of nothing more arcane than the quality of Handel's attention to his text, and the consistency of his musical imagination".[114] Allan Kozinn, The New York Times music critic, finds "a model marriage of music and text ... From the gentle falling melody assigned to the opening words ("Comfort ye") to the sheer ebullience of the "Hallelujah" chorus and the ornate celebratory counterpoint that supports the closing "Amen", hardly a line of text goes by that Handel does not amplify".[115]

https://www.youtube.com/watch?v=IUZEtVbJT5c

HALLELUJAH MEANS PRAISE THE TETRAGRAMMATON- IT IS REPEATED MANY TIMES

FOUR SACRED PIECES- FILLED WITH FOURS- FOUR VOICES ("IT WILL BE MY FOURTH")- FOUR PART CHORUS FOUR MIXED VOICES

https://en.wikipedia.org/wiki/Quattro_pezzi_sacri

The Quattro pezzi sacri (Italian pronunciation: [ˈkwattro ˈpɛttsi ˈsaːkri], Four Sacred Pieces) are choral works by Giuseppe Verdi. Written separately during the last decades of the composer's life and with different origins and purposes, they were nevertheless published together in 1898 by Casa Ricordi. They are often performed as a cycle, not in chronological sequence of their composition, but in the sequence used in the Ricordi publication:

 

Ave Maria, a setting of the Latin "Ave Maria" for four solo voices a cappella composed in 1889

Stabat Mater, a setting of the Latin "Stabat Mater" for chorus and orchestra composed in 1896 and 1897

Laudi alla Vergine Maria, a setting of a prayer in Canto XXXIII of Dante's Paradiso for four female voices a cappella composed between 1886 and 1888

Te Deum, a setting of the Latin "Te Deum" for double chorus and orchestra composed in 1895 and 1896.

They were first performed together (without the Ave Maria) in a concert by the Paris Opera on April 7, 1898.

 

Verdi was inspired in 1889 to compose Ave Maria by the enigmatic scale C – D-flat – E – F-sharp – G-sharp – A-sharp – B – C which Adolfo Crescentini (1854–1921) had published in Ricordi's magazine Gazetta musicale di Milano, inviting composers to harmonise it.[6] Verdi composed a setting for four unaccompanied voices, with the bass singing the scale first, followed by alto, tenor and soprano, whereas the three remaining voices supply harmonic texture.[4] He commented: "An Ave Maria. It will be my fourth! Perhaps I shall be beatified by the Holy Father."[6] Verdi revised the work in June 1897 for the publication.[3] The music publisher Schott renders the subtitle as "Scala enigmatica armonizzata a 4 voci miste" (Enigmatic scale harmonised for four mixed voices).[5] It takes about six minutes to perform.

Stabat Mater[edit]

While Ave Maria is set for soloists, Verdi scored the Stabat Mater for a four-part mixed chorus (SATB) and a large orchestra of three flutes, two oboes, two clarinets. four bassoons, four horns, three trumpets, four trombones, percussion (timpani and bass drum), harp and strings.

 

The work is through-composed, without repetition of text. It is full of chromaticism. Melodic parts, similar to arias, contrast with a capella passages and dramatic outbursts. The music reaches a climax on the text Paradisi gloria (glory of paradise), then dies down in the lowest registers of the strings.[4] A performance takes about 12 minutes.

 

Laudi alla Vergine Maria[edit]

Laudi alla Vergine Maria is another a cappella work, set for four solo female voices. It is based on a short prayer from in Canto XXXIII of Dantes's Paradiso, the third part of his Divina Commedia. Verdi alludes on the counterpoint of Renaissance music. Each stanza is introduced by a new motif. Biographer Budden describes the piece as "with the subtlest of harmonic and rhythmic inflexions, unashamedly modern in character". The audience requested a repetition when it was first performed.[7][4] Publisher Schott renders the subtitle as "Tolte dall' ultimo canto del "Paradiso" di Dante per 4 voci feminili, sole" (Taken from the ultimate song of "Paradiso" by Dante for 4 female voices, solo).[5] It takes about six minutes to perform.

 

Te Deum[edit]

The Ambrosian Hymn Te Deum is scored for two four-part choirs, a short soprano solo and large orchestra, adding cor anglais and bass clarinet to the orchestra of the Stabat Mater, but without harp.

FOUR PERIODS IN VERDIS WORK

https://en.wikipedia.org/wiki/Giuseppe_Verdi

The earliest study of Verdi's music, published in 1859 by the Italian critic Abraham Basevi, already distinguished four periods in Verdi's music. The early, 'grandiose' period, ended according to Basevi with La battaglia di Legnano (1849), and a 'personal' style began with the next opera Luisa Miller. These two operas are generally agreed today by critics to mark the division between Verdi's 'early' and 'middle' periods. The 'middle' period is felt to end with La traviata (1853) and Les vêpres siciliennes (1855), with a 'late' period commencing with Simon Boccanegra (1857) running through to Aida (1871). The last two operas, Otello and Falstaff, together with the Requiem and the Four Sacred Pieces, then represent a 'final' period.[148]

https://en.wikipedia.org/wiki/The_Quadshttps://en.wikipedia.org/wiki/The_Quads

The Quads were a new wave band from Birmingham, England, active in the late 1970s and early 1980s. Their 1979 single "There Must Be Thousands" was a favourite of the BBC Radio 1 DJ John Peel, who selected it as his "single of the decade!"[1]

BIG FOUR 88 PERCENT OF THE MARKET

https://en.wikipedia.org/wiki/Music_industry

In 2004, the merger of Sony and BMG created the 'Big Four' at a time the global market was estimated at $30–40 billion.[34] Total annual unit sales (CDs, music videos, MP3s) in 2004 were 3 billion. Additionally, according to an IFPI report published in August 2005,[35] the big four accounted for 71.7% of retail music sales:

 

Independent labels—28.3%

Universal Music Group—25.5%

Sony Music Entertainment—21.5%

EMI Group—13.4%

Warner Music Group—11.3%

Circle frame.svg

US music market shares, according to Nielsen SoundScan (2011)

 

EMI (9.62%)

WMG (19.13%)

SME (29.29%)

UMG (29.85%)

Independent (12.11%)

Nielsen SoundScan in their 2011 report noted that the "big four" controlled about 88% of the market:[36]

 

Universal Music Group (USA based) — 29.85%

Sony Music Entertainment (USA based) — 29.29%

Warner Music Group (USA based) — 19.13%

Independent labels — 12.11%

EMI Group - 9.62%

FOUR TIMES FOUR ACTUALLY EQUALS 16- HE LEFT OUT THE FOURTH QUADRANT

https://en.wikipedia.org/wiki/4×4%3D12

4×4=12 is the fifth studio album by Canadian record producer and DJ deadmau5, released internationally on 6 December 2010 by Virgin Records and a day later in the United States by Ultra Records and mau5trap Recordings. The album's title refers to a miscalculation made by deadmau5 on his Ustream channel, where he mistakenly said that his live setup of four banks of four "equals twelve".[1] The album received a nomination at the 54th Grammy Awards for Best Dance/Electronica Album.

FOUR MEMBER GROUP- I DESCRIBED THAT I STUDIED ALL OF THE MUSIC GROUPS I SAW THE FOURTH WAS DIFFERENT EITHER LEFT REPLACED OR WHATEVER FOURTH ALWAYS DIFFERENT

https://en.wikipedia.org/wiki/Little_Mix

In 2011, Edwards, Thirlwall, Pinnock, and Nelson individually auditioned successfully as soloists for the eighth series of the UK version of The X Factor,[10] but failed the first challenge of the "bootcamp" section.[11] They were allowed another chance to compete when they were placed in two separate ensembles by the judges during the "group bootcamp" stage, with Edwards and Nelson in four-member group Faux Pas and Thirlwall and Pinnock in three-member group Orion.[11][12] Both groups failed to make it through to the next stage. A later decision recalled two members from each group to form the four-piece group Rhythmix, sending them through to the "judges' houses" section.[13]

FOUR MAIN AUDIO ELEMENTS

https://en.wikipedia.org/wiki/Audio_mixing

The process takes place on a mix stage, typically in a studio or theater, once the picture elements are edited into a final version. Normally the engineer will mix four main audio elements: speech (dialogue, ADR, voice-overs, etc.), ambience (or atmosphere), sound effects, and music.

BACHS CROSS MELODY

https://readtiger.com/wkp/en/Cruciform

Cruciform melody

 

In music, a melody of four pitches where a straight line drawn between the outer pair bisects a straight line drawn between the inner pair, thus forming a cross (as in the red lines in the example to the right). In its simplest form, the cruciform melody is a changing tone, where the melody ascends or descends by step, skips below or above the first pitch, then returns to the first pitch by step. Often representative of the Christian cross, such melodies are cruciform in their retrogrades or inversions. Johann Sebastian Bach, whose last name may be represented in tones through a musical cryptogram known as the BACH motif that is a cruciform melody, employed the device extensively. The subject of the fugue in c-sharp minor from The Well-Tempered Clavier Book I is cruciform. See also: Cross motif.

TCHAIKOVSKY'S CROSS MOTIVE- ASSOCIATED WITH CRUCIFIXION

https://readtiger.com/wkp/en/Cruciform

Tchaikovsky's "Cross"-motive, associated with the crucifixion, himself, and Tristan, first appearing in mm.1-2 of his Pathétique Symphony[2] About this sound Play (help·info). Tchaikovsky associated the cross-motif with "star-cross'd lovers", such as in Romeo and Juliet.[2]

FRANZ LISZT USED CROSS MOTIF

http://www.wikiwand.com/en/Cross_motif

In music, the cross motif is a motif.

 

A motif (Crux fidelis) was used by Franz Liszt to represent the Christian cross ('tonisches Symbol des Kreuzes' or tonic symbol of the cross) and taken from Gregorian melodies.[1]

 

Pyotr Ilyich Tchaikovsky associated a motif with the crucifixion, himself, and Tristan, a variation of which first appears in mm.1-2 of his Pathétique Symphony.[2] Tchaikovsky identified with and associated the cross-motif with "star-cross'd lovers" in general, such as in Romeo and Juliet.[2]

 

See also

Sources

Categories

BACH WROTE A CHACONNE THAT WAS 256 MEASURES BASED ON A PLAINTIVE FOUR BAR PHRASE--- 256 IS FOUR TO THE FOURTH POWER OR 16 SQUARED- 16 SQUARES QMR

https://en.wikipedia.org/wiki/Chaconne

One of the best known and most masterful and expressive examples of the chaconne is the final movement from the Violin Partita in D minor by Johann Sebastian Bach. This 256-measure chaconne takes a plaintive four-bar phrase through a continuous kaleidoscope of musical expression in both major and minor modes.

FOUR BY FOUR BY FOUR LINES- (first two lines similar- then third and fourth different- first two are the duality third is triad fourth is transcendent fourth)

https://en.wikipedia.org/wiki/Deck_the_Halls

Variants[edit]

 

Pennsylvania School Journal, 1877

A variation of the lyrics appears in the December 1877 issue of the Pennsylvania School Journal.[8] This version, in which there is no longer any reference to drinking, runs as follows:[9]

 

Deck the hall with boughs of holly,

'Tis the season to be jolly,

Don we now our gay apparel,

Troll the ancient Christmas carol,

 

See the blazing yule before us,

Strike the harp and join the chorus.

Follow me in merry measure,

While I tell of Christmas treasure,

 

Fast away the old year passes,

Hail the new, ye lads and lasses!

Sing we joyous all together,

Heedless of the wind and weather,

 

An identical printing appeared four years later in The Franklin Square Song Collection.[10]

 

The pluralizing of the title of the carol to "Deck the Halls" is found as early as 1892.[11]

 

Other common alterations change "Christmas" to "Yule" or "Yuletide" in various locations where it appears. For example, "Christmas carol" may be changed to "Yuletide carol".

 

Melody[edit]

 

Melody of "Deck the Hall", from John Hullah, The Song Book (1866)

The melody of "Deck the Hall" is taken from "Nos Galan" ("New Year's Eve"), a traditional Welsh New Year's Eve carol published in 1794, although it is much older.[1] The music is in AABA form.[12]

 

Variants[edit]

The Pennsylvania version from 1877 omits of the third "Fa la la" line (which corresponds to the instrumental flourish in the Welsh original).

 

The third and fourth "Fa la la" lines sung to the words "Deck the Hall" differ from those sung or played in Wales, the fourth having a more arpeggiated melody in the Welsh version and the third differing in both melody and rhythm.

Page Four- LOOK HOW THE FOURTH IS DIFFERENT IN PICTURE I STUDIED ALL OF THESE BANDS AND THE FOURTH IS ALWAY SDIFFERENT REPLACED OR LEAVES SO ON LIKE DESTINYS CHILD THE FOURTH LEFT

https://en.wikipedia.org/wiki/Page_Four

From Wikipedia, the free encyclopedia

For Patti Page 1956 compilation album, see Page Four – A Collection of Her Most Famous Songs.

Page Four

Origin Denmark

Genres Pop

Years active 2014–present

Labels Sony Music Entertainment

Website http://www.pagefour.dk/

Members Lauritz Emil Christiansen

Jonas Eilskov

Stefan Hjort

Pelle Højer

Page Four is a Danish boy band established in Copenhagen in November 2014 by the four members: Lauritz Emil Christiansen, Jonas Eilskov, Stefan Hjort and Pelle Højer. The band got discovered by uploading cover versions online and were eventually signed to Sony Music Entertainment Denmark.[1]

4 TIMES FOUR SIDES FOUR HOT WAVE FOUR TRACKS

https://en.wikipedia.org/wiki/4_Times

"4 Times" (stylized as "4 TIMES") is the 50th single by pop/R&B singer Koda Kumi. It was released on August 17, 2011 and debuted at #6, remaining on the Oricon charts for nine consecutive weeks. In commemoration of it being the fiftieth single since her debut, the single contained four a-sides, making it her first since 4 hot wave (2006).

 

The single came in four editions: CD, CD+DVD, CD+QLIX Digital Camera and CD+50 Postcards BOX Set. The latter two only carried the song "Poppin' love cocktail feat. TEEDA."

 

The CD and CD+DVD editions contained all four tracks with interludes and the four music videos corresponding to the a-sides. The CD+Qlix Digital Camera and CD+50 Postcards Box Set editions only came with "Poppin' love cocktail" on the CD.[16] The Qlix digital camera contained a unique cover design, with red polka dots on a black background, along with "Koda Kumi Summer 2011" written in white.[17] The fifty postcards included in the box set were promotional photos from all fifty singles she had released up to 4 Times.

 

Music videos[edit]

Unlike 4 hot wave, only two of the four music videos are interconnected: "V.I.P" and "KO-SO-KO-SO."

 

Kumi said the four songs were to show "one summer day.".[8]

https://en.wikipedia.org/wiki/4_Hot_Wave

"4 Hot Wave" (stylized as 4 hot wave) is Japanese singer Koda Kumi's 32nd single on the Rhythm Zone label. It charted at #2 on Oricon and stayed on the charts for seventeen weeks.[1] The sales for the single became her highest selling single, even surpassing the total sales of real Emotion/1000 no Kotoba in less than three weeks.[2] It became her highest debut single and reclaimed the title of Highest Debut Sales Female Artists, previously held by Ayumi Hamasaki's Blue Bird.[3]

THE BIG FOUR MUSIC GROUPS 70 PERCENT- FOURTH DIFFERENT

https://en.wikipedia.org/wiki/Record_label

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2007, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market.[16][17] Record companies (manufacturers, distributors, and labels) may also constitute a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.

TETRACHORD FOUNDATION OF GREEK MUSIC

https://en.wikipedia.org/wiki/Genus_(music)

Genus (Gr.: γένος [genos], pl. γένη [genē], lat. genus, pl. genera "type, kind") is a term used in the Ancient Greek and Roman theory of music to describe certain classes of intonations of the two movable notes within a tetrachord.

 

Aristoxenus (in his fragmentary treatise on rhythm) names 'genera' some patterns of rhythm. The tetrachordal concept is also found in the modal theory of Byzantine music and relates to the jins of Arabic music.

FOUR NOTES TETRACHORD SYSTEM TETRA IS FOUR

https://en.wikipedia.org/wiki/Pyknon

Pyknon, Greek: πυκνόν, sometimes also transliterated as pycnon (from Greek: πυκνός close, close-packed, crowded, condensed; Latin: spissus) in the music theory of Antiquity is a structural property of any tetrachord in which a composite of two smaller intervals is less than the remaining (incomposite) interval. The makeup of the pyknon serves to identify the melodic genus (also called "genus of a tetrachord") and the octave species made by compounding two such tetrachords, and the rules governing the ways in which such compounds may be made centre on the relationships of the two pykna involved.

 

Contents [hide]

1 Definition

2 Theoretical applications

3 Enharmonic

4 Chromatic

5 Scale structure

6 References

Definition[edit]

The pyknon was an important criterion in the classification of melodic genera (Greek: γένη τῶν μελῳδουμένων). The Greek word πυκνόν is an adjective meaning "close", "compact", "close-packed", or "crowded" (Liddell and Scott 1996). In Ancient Greek music theory, this term is used to describe a pair of intervals within a tetrachord, the sum of which is less than the remainder of the tetrachord (Levin 2007, 413). Although in modern usage, a tetrachord may be any four-note segment of a scale, or indeed any (unordered) collection of four pitch classes, in ancient Greek music theory a tetrachord consists of a four-note segment of the Greater and Lesser Perfect Systems bounded by the interval of a perfect fourth, the outer notes of which remain fixed in all genera and therefore are called "standing notes" (Greek: ἑστῶτες φθόγγοι). The positions of the inner notes vary from one genus to another, for which reason they are called "movable notes" (Mathiesen 1999, 301, 312, 322, 344, 350, et passim; from Greek: κινούμενοι φθόγγοι). In its basic theoretical form, the largest internal of a tetrachord is at the top, and the smallest at the bottom. The existence of a pyknon therefore depends on the uppermost interval being larger than half of a perfect fourth, which occurs only in the chromatic and enharmonic genera. Because the diatonic genus consists of two whole tones and one semitone, no single interval is larger than the other two combined, and so there is no pyknon (Barbera 1984, 229). For this reason, the enharmonic and chromatic genera are sometimes called the "pyknic genera", in order to distinguish them from the diatonic (Solomon 1984, 246).

 

Theoretical applications[edit]

The notes of the central tetrachord of the system in ascending order are hypate, parhypate, lichanos (or hypermese), and mese. A second tetrachord is added above, after a disjunctive tone, and the corresponding names (together with the interval ratios of the standing tones) are (Chalmers 1990, 4; Mathiesen 1999, 245):

 

mese (4:3) – nete (2:1) (standing)

lichanos – paranete (movable)

parhypate – trite (movable)

hypate (1:1) – paramese (3:2) (standing)

Although movable, the lichanos must remain above the parhypate, and the paranete above the trite (Mathiesen 1999, 312).

 

A "composite interval" is one made up of two or more smaller intervals; an "incomposite interval" has no smaller components In these terms, if the composite interval between the hypate and the lichanos (or paramese and paranete) is smaller than the incomposite interval from the lichanos to the mese (or paranete to nete), the three notes in that composite interval are together called a pyknon (Mathiesen 1999, 312). In the diatonic genus, because the composite interval from hypate to lichanos (a minor third) is larger than the remaining incomposite interval from lichanos to mese (a whole tone), the lowest three notes of the diatonic tetrachord are designated apyknon: "not close-packed" (Barbera 1977, 321n11).

SOUL MADE OF FOUR ELEMENTS ACCORDING TO ARISTOXENUS

https://en.wikipedia.org/wiki/Aristoxenus

The theory that the soul is a "harmony" of the four elements composing the body, and therefore mortal ("nothing at all," in the words of Cicero[8]), was ascribed to Aristoxenus (fr. 118-121 Wehrli) and Dicaearchus. This theory is comparable to the one offered by Simmias in Plato's Phaedo.

FOUR CATEGORIES

https://en.wikipedia.org/wiki/The_Art_of_Noises

Russolo explains how "musical sound is too limited in its variety of timbres."[3] He breaks the timbres of an orchestra down into four basic categories: bowed instruments, metal winds, wood winds, and percussion. He says that we must "break out of this limited circle of sound and conquer the infinite variety of noise-sounds,"[3] and that technology would allow us to manipulate noises in ways that could not have been done with earlier instruments.

FOUR STANZAS
http://ajisabaki.com/…/Japanese_Melodies_for_Flute_and_Harp/
Kojo No Tsuki (Rentaro Taki) - Wikipedia
This is the work of Rentaro Tuki (1879-1903) who is credited with being the first major composer of the Meiji Era. Taki studied at the Leipzig Music Conservatory in Germany but returned to Japan to die at the age of 24. The lyrics for Kojo No Tsuki, in four stanzas, were written by Bansui Tsuchii.

FOUR THEMES
http://ajisabaki.com/…/Japanese_Melodies_for_Flute_and_Harp/
Hana (Rentaro Taki)
This was composed in the 33rd year of the Meiji Era and was originally a three-part-harmony song. Its verses, by Hagoromo Takeshina, presented four themes: Flower, Cool Breeze, Moon, and Snow. Hana (flower) has become a familiar melody, particularly favored by young Japanese girls.

STAR SPANGLED BANNER HAS FOUR STANZAS

https://en.wikipedia.org/wiki/The_Star-Spangled_Banner

The poem was set to the tune of a popular British song written by John Stafford Smith for the Anacreontic Society, a men's social club in London. "To Anacreon in Heaven" (or "The Anacreontic Song"), with various lyrics, was already popular in the United States. Set to Key's poem and renamed "The Star-Spangled Banner", it soon became a well-known American patriotic song. With a range of one octave and one fifth (a semitone more than an octave and a half), it is known for being difficult to sing. Although the poem has four stanzas, only the first is commonly sung today.

FOUR STANZAS

https://en.wikipedia.org/wiki/Joan_of_Arc_(Leonard_Cohen_song)

"Joan of Arc" is a song by Canadian singer-songwriter Leonard Cohen. It was released as a single in March 1971 from his third album, Songs of Love and Hate. The song lasts almost six-and-a-half minutes, and is composed of four stanzas of eight lines each with a "la-la" refrain.

ALTERNATING SEQUENCE OF FOUR LINE STANZAS

https://en.wikipedia.org/wiki/Mass_song

Musical characteristics of a mass song ensured easy comprehension and performance by non-professional "masses". A mass song is typically an alternating sequence of four-line stanzas and refrains in a nonsophisticated musical form which employed most common vocal register. Typically these songs are of optimistic or heroic character, written in the form of a march.[1]

FOUR LINE LYRIC STANZAS

https://en.wikipedia.org/wiki/Stev

Stev is a form of Norwegian folk song consisting of four line lyric stanzas.[1] The English version of the word is stave, meaning the stressed syllable in a metric verse.

 

Gamlestev[edit]

gamlestev (old stave) is the oldest type. It is likely that gamlestev were originally danced.[2] Stanzas in gamlestev meter,were already established around the end of the 13th century.[3]

Of the gamlestev that have been preserved, most of them are from Setesdal and øvre Telemark . This poetic form is equivalent to the metre of the medieval ballad, and is used over most of Northern Europe:

 

Oh who will shoe my bonny foot

and who will glove my hand

and who will lace my middle waist

with a long, long linen band.

The metre in most old staves is free, and the rhyming is always on the second and fourth line.

 

Some gamlestev might be remnants of folk songs that have been split up, and thereby losing completeness.

 

Nystev[edit]

Nystev (new stave[citation needed]) have probably been around since about year 1700.[3] "It is the Norwegian counterpart to blues from America", wrote Geirr Lystrup (in 1980).[4]

In Telemark, nystev have been replaced by rural folksongs, to a great extent. By contrast, nystev in Setesdal have held much of their ground. Many folksongs are based on the form, which rhymes in pairs:

 

Den dag kjem aldri at eg deg gløymer

for når eg søver, eg om deg drøymer.

og natt og dag er du like nær,

men best eg ser deg når myrkt det er.

16 TRACKS

https://en.wikipedia.org/wiki/Multitrack_recording

The TASCAM 85 16B analog tape recorder can record 16 tracks of audio on 1-inch (2.54cm) tape. Professional analog units of 24 tracks on 2-inch tape were common, with specialty tape heads providing 16 or even 8 tracks on the same tape width, for greater fidelity.

The Beach Boys' Pet Sounds also made innovative use of multitracking with 8-track machines of the day (circa 1965).[2] Motown also began recording with 8-track machines in 1965 before moving to 16-track machines in mid-1969.

KURT KOBAIN ESPECIALLY LIKED SONG CRUCIFIED

https://en.wikipedia.org/wiki/Crucified_(Army_of_Lovers_song)

"Crucified" is a 1991 song recorded by the Swedish band Army of Lovers. It is the first single from their second album Massive Luxury Overdose and the seventh single to be released by the band. It was released from May 1991 (in Sweden) to February 1992 (in France). A re-edition that features on Massive Luxury Overdose (US Version) was made in 1992. "Crucified" is possibly the best known song released by the band.

 

It was recorded by Jean-Pierre Barda (vocals, drums), Alexander Bard (vocals, computer) and La Camilla (vocals, bass) who also feature in the videoclip. The two remixes available on the CD maxi and vinyl 12" maxi are made by Nuzak.

 

Kurt Cobain of the hugely successful alternative rock group Nirvana praised the band in his posthumously published journals, but specifically the song "Crucified."[1]

VINNIE PAZ "FUCK YA CRUCIFIX, YOUR RELIGION AND ITS USELESSNESS"- CROSS IS QUADRANT

http://www.metrolyrics.com/philosophy-of-horror-lyrics-jedi-mind-tricks.html

[Vinnie Paz]

Fuck ya crucifix, your religion and its uselessness

Your propaganda is more wickeder than luciphers

 

 

Read more: Jedi Mind Tricks - Philosophy Of Horror Lyrics | MetroLyrics

JEDI MIND TRICKS "CRUCIFIXION OF JESUS"

https://www.youtube.com/watch?v=7deVqTHn3WM

http://songmeanings.com/songs/view/3530822107858790133/

Call me your highness and sip the blood from the phoenix

Who's guilty like the Jews in the crucifixion of Jesus

VINNIE PAZ "FUCK YA CRUCIFIX, YOUR RELIGION AND ITS USELESSNESS"- CROSS IS QUADRANT- ESOTERIC SAYS "ONTO THE CRUCIFIX"

https://www.youtube.com/watch?v=7deVqTHn3WM

http://www.metrolyrics.com/philosophy-of-horror-lyrics-jedi-mind-tricks.html

[Vinnie Paz]

Fuck ya crucifix, your religion and its uselessness

Your propaganda is more wickeder than luciphers

 

Read more: Jedi Mind Tricks - Philosophy Of Horror Lyrics | MetroLyrics

 

Stompin the pawns that sponsor ya

Onto the crucifix

I chew ya crew to bits like Mucelix or computer chips

HE SAYS "CROSS YOU LIKE A CRUCIFIX"

https://www.youtube.com/watch?v=gKvwOiWOdGo

MY FRIEND AFAM WHO I LIVED WITH IN HIGH SCHOOL LISTENED TO JEDI MIND TRICKS ALL THE TIME AND MY FRIEND IN COLLEGE WAS LIKE "JEDI MIND TRICKS IS THE ONLY GROUP I LISTEN TO" AND I EVEN HAD CATHOLIC FRIENDS IN HIGH SCHOOL WHO WOULD LISTEN TO JEDI MIND TRICKS EVEN THOUGH THEY WERE CATHOLIC AND VINNIE PAZ CONSTANTLY SAYS HOW HE IS MUSLIM

 

Philly streets, muhfuckers cross you like a crucifix

In sha Allah, I'mma be alive like Busilvex

IMMORTAL TECHNIQUE MENTIONS THE CRUCIFIX

https://genius.com/Immortal-technique-diabolical-lyrics

Immortal Technique'll destroy your religion, you stupid bitch

You're faker than blue-eyed crackers nailed to a crucifix

https://www.youtube.com/watch?v=rlHeHUK8fFA

IMMORTAL TECHNIQUE SAID "THEY PROBABLY CLONED JESUS WITH THE BLOOD OFF OF THE CROSS"

https://www.youtube.com/watch?v=Z3aOobivFMo

http://www.azlyrics.com/lyrics/immortaltechnique/angelofdeath.html

Illuminati trying to raise the devil at any cost

"They probably cloned Jesus with the blood off of the cross"

KILLAH PRIEST "RALLY ROUND THE CRUCIFIX"

 

https://www.youtube.com/watch?v=RVt_cZ_AwLY

Quadrant

"WEARING CRUCIFIXES AND GANG FLAGS"- KILLAH PRIEST

https://www.youtube.com/watch?v=N5b7KmTOC5w

https://genius.com/Killah-priest-listen-to-me-lyrics

 

From Gates Ave. Niffy was a great man

Put his face inside a stained glass

Wearing crucifixes and gang flags

KILLAH PRIEST "CRUCIFIXES"

https://www.youtube.com/watch?v=LBE1qDZx1YE

https://genius.com/Killah-priest-truth-b-told-lyrics

'Cause what I seen was the judge

And what he showed me were grave sites

And crucifixes, ruthless bitches

How they treat you and what they do to your riches"

KILLAH PRIEST "PEACE TO THE MAN-HAND WIT THE CRUCIFIXES"- CRUCIFIX IS QUADRANT

https://www.youtube.com/watch?v=8finoziQnOM

https://genius.com/Killah-priest-black-jesus-freestyle-lyrics

No love for the hands branded wit sixes

Peace to the man-hand wit the crucifixes

I know Lucifer's listenin'

KILLAH PRIEST MENTIONING "CRUCIFIX CROSS"

https://mojim.com/usy108680x4x2.htm

Then he showed me the whole record industry as earlier Romans

Holding up a crucifix cross of creative music we've lost

SAYS CRUCIFIX KILLAH PRIEST

https://mojim.com/usy108680x3x8.htm

Tongue led off hot nails

Crucifix, Judas' pix, you wanted to flow

PRIEST SAID CRUCIFIX CROSSER

http://lyrics.wikia.com/wiki/Killah_Priest:Color_Of_Murder_Pt._2_(Old_Castle_Hop)

https://www.youtube.com/watch?v=nikYQAnV_CI

Me and Walter in the thumbscrew torture

Crucifix crosser, crocodile school

CANIBUS IN THIS SONG SAYS HE NAILS THE KING OF RAP TO A CRUCIFIX- QUADRANT- CANIBUS SAYS "FOUR SWORDSMEN FROM THE LAND OF THE LOST THROW YOUR FOURS UP OR GET YOUR VOCAL CHORDS CUT WAVING HTE FOUR FOUR"

https://www.youtube.com/watch?v=8Nhy3K1bUwM

https://songmeanings.com/songs/view/3530822107858680217/

Put a crown of thorns on whoever the king of rap is

If he's a *Catholic* I nail him to a crucifix

CANIBUS IN THIS SONG SAYS HE NAILS THE KING OF RAP TO A CRUCIFIX- QUADRANT- CANIBUS SAYS "FOUR SWORDSMEN FROM THE LAND OF THE LOST THROW YOUR FOURS UP OR GET YOUR VOCAL CHORDS CUT WAVING HTE FOUR FOUR"- KILLAH PRIEST SAYS "WAHT THE FUCK YALL DONE STARTED FOUR APOCALYPITC PROPHETS"

[Killah Priest]

What the fuck y'all done started; four apocalyptic prophets

https://www.youtube.com/watch?v=8Nhy3K1bUwM

https://songmeanings.com/songs/view/3530822107858680217/

Put a crown of thorns on whoever the king of rap is

If he's a *Catholic* I nail him to a crucifix

CANIBUS IN THIS SONG SAYS HE NAILS THE KING OF RAP TO A CRUCIFIX- QUADRANT- CANIBUS SAYS "FOUR SWORDSMEN FROM THE LAND OF THE LOST THROW YOUR FOURS UP OR GET YOUR VOCAL CHORDS CUT WAVING HTE FOUR FOUR"- KILLAH PRIEST SAYS "WAHT THE FUCK YALL DONE STARTED FOUR APOCALYPITC PROPHETS- CANIBUS SAYS "FOUR HORSEMEN AND THEN HE REPEATS FOUR TIMES WAVIN THE FOUR FOUR WAVIN THE FOUR FOUR WAVIN THE FOUR FOUR WAVIN THE FOUR FOUR"

[Killah Priest]

What the fuck y'all done started; four apocalyptic prophets

https://www.youtube.com/watch?v=8Nhy3K1bUwM

https://songmeanings.com/songs/view/3530822107858680217/

Put a crown of thorns on whoever the king of rap is

If he's a *Catholic* I nail him to a crucifix

 

The Four Horsemen'll chop your head off wit a sword then

Gallop Northward

 

MC's take caution

The Four Horsemen'll chop your head off wit a sword then

Gallop Northward motherfuckers; yeah

 

So just abide by, what your ride by

Cause we abide by, what we ride by

Just abide by, what your ride by

Cause we abide by what we ride by, HA!

 

[All]

Wavin the four-four! All you heard was "Priest, don't hit me no more"

Wavin the four-four! All you heard was "Bis, don't hit me no more"

Wavin the four-four! All you heard was "Ras, don't hit me no more"

Wavin the four-four! Aiyyo Kurupt, hit them niggaz wit the hardcore!

http://www.lyrics.com/lyrics/crucifixes

 

http://www.lyrics.com/lyrics/crucifixes

Log inThe STANDS4 Network☰

SEARCH

in Lyrics

in Artists

in Albums

#ABCDEFGHIJKLMNOPQRSTUVWXYZ NEWRANDOM

Lyrics.com

 

Lyrics.com »

 

Search results for 'crucifixes'

Yee yee! We've found 28 lyrics, 0 artists, and 0 albums matching crucifixes.

 

 

Top Expert

Cat Power

 

Myra Lee

Cat Power

1996

In the light that I

Feel

I see crucifixes and

Expectancy

And I feel

So safe

Foot by foot

I feel like a

Beat cast-off

I feel so

Ashamed

Magpie

The Mountain Goats

 

The Sunset Tree

The Mountain Goats

2005

Shore up the crucifixes

Above the archways and the doors.

The magpie will come at midday.

And you will go down on all fours.

Velvet Tongue

Virgin Black

 

Elegant and Dying

Virgin Black

2003

A field of human crucifixes,

 

Weathered and fading

Heaven hears nothing

As the priests are wailing

And they're crushing our souls

 

We feel our

Portrait of a Human

Ethan Durelle

 

White Knuckles on Turned Wheels

Ethan Durelle

2003

of painted masks

Silver surfer melting wax takes on shapes of crucifixes on some child's head

 

Breath, why are you so shy?

Kitchen sink full of ants carry

Saatana

Barathrum

 

Saatana

Barathrum

2004

Christian slaves, sacrifices

 

The brave and the strong

Filled with fury

The bold and powerful

Filled with rage

 

Wearing inverted crucifixes

Wearing

Beneath a Funereal Sun

Cathedral

 

The Garden of Unearthly Delights [Bonus Track]

Cathedral

2006

Star shaped crucifixes, cosmic tomb

Tranquil void awaits us soon

 

Black drapes overhanging -- a vulture's paradise

World leaders celebrating --

The Man in the Van

Robin Williamson & His Merry Band

 

American Stonehenge

Robin Williamson

1978

blues

With a suitcase full of earvax

And pencils in his shoes

The streets were full of marionettes

And their eyes like blood

It was raining crucifixes

Rock Is Dead

Marilyn Manson

 

Mechanical Animals [Explicit Version]

Marilyn Manson

1998

All simple monkeys with alien babies

Amphetamines for boys

And crucifixes for ladies

Sampled and soulless

Worldwide and real webbed

You

Prisoner of Our Time

Running Wild

 

Gates of Purgatory

Running Wild

1984

Paint in subways

Paint in busses

With your Edding big black pentagrams

Black metal graffitis are thrown against the wall

 

Crucifixes are

Mine

Savage Garden

 

Asian Tour Package

Savage Garden

1999

see I'm standing naked.

I'll bear all the crosses and the crucifixes you can provide.

If you could decide.

 

Just a twist in time and you could be

Enter the Worms

Cathedral

 

The Ethereal Mirror

Cathedral

1993

Adorned daggers, ruby hilted swords,

Unfailing crucifixes, striking mortal cords,

Huge violent serpents in volumes rolled,

All holy poisons poured

Conspiring with the Damned

The Black Dahlia Murder

 

Ritual

The Black Dahlia Murder

2011

possession,

Nightmare reality.

Just place your hands upon the planchette and believe.

 

Don't look now the walls are bleeding,

Crucifixes are inverting,

Skin and Bone

Big Umbrella

 

Fruit

Big Umbrella

1996

no thorny crown.

Cut all your crucifixes down.

Sing Fat Lady Sing

Carter the Unstoppable Sex Machine

 

Post Historic Monsters

Carter the Unstoppable Sex Machine

1994

the soul

Take 4 letters and let's rock 'n' roll

Are those 3 sixes on the side of your head?

Shall I get the crucifixes, are you already dead?

Should I

Love Song for a Witch

Dog Fashion Disco

 

Committed to a Bright Future

Dog Fashion Disco

2003

a love song for a witch

A romantic remembrance for this

Is a love song for a witch

 

Spinning crucifixes on the bedroom wall of the possessed

Blood Mantra

Decapitated

 

Blood Mantra

Decapitated

2014

Through centuries leading their wars

Armed with crucifixes

Hardened with dogmas

Ravaging

Cursing

And murdering every Proteus

I heard faith is

Science Projects, Pt. 2

Killah Priest, Able, Able

 

Exorcist

Killah Priest

2009

abdominal and glocks by his lungs

Superstitious, crucifixes and horseshoes hang

And grab nines, livin' room since I've been in the womb

Stain, glass window

If You Own the Washington Redskins You're a Cock

Atom and His Package

 

Redefining Music

Atom and His Package

2001

thing for Christians that's offending you?

When there's a jesus Christ mascot shooting crucifixes

They nailed to a cross dying to save the team

You'll be

Prisoners of Our Time

Running Wild

 

Live

Running Wild

2002

Paint in subways, paint in bus

With your eddying big black pentagrams

Black metal graffiti are thrown against the wall

 

Crucifixes are inversed

Around My Way (Freedom Isn't Free)

Lupe Fiasco

 

Food & Liquor II: The Great American Rap Album, Pt. 1

Lupe Fiasco

2012

watch you

Straight hair, high heels and a handbag

Crucifixes, racism and a land grab

Katrina, FEMA trailers, human body sandbags

A peace sign and a pants

Every Defeat a Divorce (Three Lions)

Los Campesinos!

 

Hello Sadness

Los Campesinos!

2011

crosses crucifixes,

Spreading guilt and sense of dread."

And as we stumbled homeward up the hill

To where you used to live

The cold makes ice upon our

Catholic Fashion

Ninja High School

 

Young Adults Against Suicide

Ninja High School

arguing all day and every

Night. he'll move out of his parents' when she becomes his wife. the

Shine on crucifixes makes you blind! who the fuck but jesus

The Essence

C-Rayz Walz

 

Ravipops (The Substance)

C-Rayz Walz

2003

and Crucifixes

Rhyme patient ready for religion

Lady on the train lookin at me idle

Judgemental but she still holding a Bible

I burst out into a wild freestyle

Around My Way (Freedom Ain't Free)

Lupe Fiasco

 

Around My Way (Freedom Ain't Free)

Lupe Fiasco

2012

watch you

Straight hair, high heels and a handbag

Crucifixes, racism and a land grab

Katrina, FEMA trailers, human body sandbags

A peace sign and a pants

Not Going Back

Nas, Kelis

 

Hip Hop Is Dead

Nas

2006

marble floors with jacuzzis in it

First-class flights, diamonds in your crucifixes

All those things you still ain't really doin' shit kid

 

'Cause in

12

The Web's Largest Resource forMusic, Songs & Lyrics

A MEMBER OF THE STANDS4 NETWORK

 

 

Click to learn more...

Company

 

Home

About

News

Press

Awards

Testimonials

Editorial

 

Login

Add new Lyrics

Become an Editor

Meet the Editors

Recently Added

Most Popular

Services

 

Tools

Your Playlist

Tell a Friend

Bookmark Us

Lyrics API

Legal & Contact

 

Terms of Use

Privacy Policy

Contact Us

Advertise

The STANDS4 Network

Abbreviations

Definitions

Phrases

References

Symbols

Biographies

Grammar

Poetry

Rhymes

Synonyms

Conversions

Lyrics

Quotes

Scripts

Zip Codes

© 2001-2017 STANDS4 LLC.

All rights reserved.

KILLAH PRIEST "SUPERSTITIOUS CRUCIFIXES"- THE T IN KILLAH PRIEST ON THE COVER IS A CROSS

https://lyricsbytes.com/k/killah-priest/science-projects-2/

Tattoos on his abdominal and glocks by his lungs

Superstitious, crucifixes and horseshoes hang

 

https://www.youtube.com/watch?v=dw0DDzYgNz8

Quadrant

SAYS CRUCIFIX

http://similarlyrics.com/hypocrisy/abducted/slippin-away

https://www.youtube.com/watch?v=FSUWGng9YBI#action=share

I'm soulless to the core, I'm 666

I am your death I am the crucifix

Slayer- Behind the Crooked Cross

 

https://www.youtube.com/watch?v=qRV1Zgjmiks

Quadrant

CROSS ON SLAYER COVER SLAYER ALSO HAS A COVER WITH 16 SQUARES- I POINTED OUT I STUDIED ART HISTORY AND A COURSE ON ART HISTORY AND THEY SHOWED SOME EXTREMELY FAMOUS PAINTINGS THAT WERE 16 SQUARES I FORGET THEM NOW THOUGH- SAYER SAYS "SALVATION FOREVER CRUCIFIED"

https://play.google.com/music/preview/Toshifqag4vu3uzqz5mytvo6xkq?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics

https://lh3.googleusercontent.com/5_Ksk4Vhnl-3qm9h_s-7a-0Q3QdnexUiqTzhZEVFSkAXumDXiRrEX-sz5xVc9TjJ1HSj69yu=w720-c-h360-e100-v1

 

 

Salvation forever crucified

I choose the other side oh yea

Entire, complete serenity

http://www.azlyrics.com/lyrics/slayer/silentscream.html

SLAYER "CRUCIFY THE BASTARD SON"- CROSS IS QUADRANT

Silent Scream

Crucify the bastard son.

Beaten and torn

Sanctify lives of scorn.

SIXTEEN SQUARE QUADRANT ON SLAYER COVER

 

https://www.youtube.com/watch?v=WHcqPck0eWk

Quadrant

SLAYER- SUPREMACIST - "UNTIL YOU'VE ALL BEEN CRUCIFIED" - CROSS IS QUADRANT

 

http://www.darklyrics.com/lyrics/slayer/christillusion.html

 

Helpless as I dominate

I won't celebrate

Until you've all been crucified

I can not rest till everyone has died

SLAYER- CRUCIFIX- SONG CULT

http://www.darklyrics.com/lyrics/slayer/christillusion.html

The pestilence of Jesus Christ

There never was a sacrifice

No man upon the crucifix

Beware the cult of purity

Infectious imbecility

I've made my choice

SLAYER "CRUCIFIED" TEMPTATION LYRICS

http://www.metrolyrics.com/temptation-lyrics-slayer.html

None have ever won my game

Crucified them all in flames

 

Read more: Slayer - Temptation Lyrics | MetroLyrics

SLAYER "CRUCIFIED" WORLD PAINTED BLOOD

http://songmeanings.com/songs/view/3530822107858804766/

 

God send death, watch it bleed, justified

Manufactured lives born in hell

Angels fall, wings on fire, crucified

Terrorizing man, burn the world

SLAYER CRUCIFIED AND CROSS- DR FREEZE LYRICS

http://www.metalkingdom.net/lyrics-song/slayer-mr-freeze-dr-know-cover-928

And burned his virgin skin 

I crucified your nation 

I left the dead rot 

I parade down the street 

Carrying an iron cross

SLAYER SAYS "CRUCIFY" IN HELL AWAITS

http://tsob2000.tripod.com/Slayer.htm

Crucify the so called Lord

He soon shall fall to me

Your souls are damned your God has fell

To slave for me eternally

Hell awaits...

SLAYER LOVE TO HATE SONG "CRUCIFY"

http://tsob2000.tripod.com/Slayer.htm

Lead - King

 

Pessimistic dreams

Realistic screams

Crucify creation

Magnify damnation

MEGADEATH ONE OF THE BIG FOUR THRASH METAL BANDS

"LOOKING DOWN THE CROSS"- CROSS IS THE QUADRANT

 

https://www.youtube.com/watch?v=f-EfflMI6_4

Quadrant

MEGADETH- CROSS CRUCIFIX AND SAYS X (QUADRANT)- SKULL BENEATH THE SKIN LYRICS

http://www.darklyrics.com/lyrics/megadeth/killingismybusinessandbusinessisgood.html

Solid steel visor

Riveted cross his eyes

Iron staples close his jaws

So no one hears his cries

The skull beneath the skin

Now your drawn and quartered

Your bones will make the x

Symbol stands for poison

And it's chained to your head

And as we fold your arms

To make the holy cross

We cross the crucifix

Religion has been lost

The skull beneath the skin

ANTHRAX ONE OF THE BIG FOUR THRASH METAL BANDS SAYS "CRUCIFIED"- ONLY LYRICS

http://www.metrolyrics.com/only-lyrics-anthrax.html

 

Crucified, terrified, sacrifice, my whole life

My whole life, my whole life, my whole life

 

 

Read more: Anthrax - Only Lyrics | MetroLyrics

ANTHRAX DISCHARGE- "SELF INFLICTED CRUCIFIXION"

 

Discharge Lyrics - Anthrax - LyricsFreak.com

www.lyricsfreak.com › Anthrax

Lyrics to Discharge by Anthrax: I wait, I hate / Silence kills you like a loaded gun / My time, you waste ... Anthrax – Discharge Lyrics ... Self inflicted crucifixion

ANTHRAX- AMONG THE LIVING SONG "CRUCIFIX"

http://www.darklyrics.com/lyrics/anthrax/returnofthekilleras.html

Hatred! Hatred! A crucifix is your bed,

Once he turns his eye on you, you'll be better off dead!

ANTHRAX "THIS CROSS I CAME TO BEAR"- RANDOM ACTS OF SENSELESS VIOLENCE

http://www.azlyrics.com/lyrics/anthrax/randomactsofsenselessvilence.html

I see something wrong and fix it with my hands

I walk a thin blue line, this cross I came to bear

 

I walk a thing blue line, this cross I came to bear

 

Random acts of senseless, random acts of senseless

Random acts of senseless, random acts of senseless

Violence

 

I see something wrong and I fix it with my hands

I walk a thin blue line, this cross I came to bear

RZA "CRUCIFIED" "CROSS"

 

My night time walk should be named to Nigerious

It crucified you upside down on a wooden cross

 

 

source: http://www.lyricsondemand.com/w/wutangclanlyrics/doeraewulyrics.html

Quadrant

FOUR RAPPERS IN SONG "CRUCIFIED"- WU TANG

 

God Damn it's hard, but still, we gettin' by like rhino's

Ones that peel, crucified on the Earth, for guns and needles

 

 

source: http://www.lyricsondemand.com/w/wutangclanlyrics/thinkdifferentlylyrics.html

Quadrant

RAGE AGAINST THE MACHINE REPETITION OF CROSS- IN TOWNSHIP REBELLION

http://www.azlyrics.com/lyrics/rageagainstthemachine/townshiprebellion.html

Shackle their minds when they're bent on the cross

When ignorance reigns, life is lost

Shackle their minds when they're left on the cross

When ignorance reigns, life is lost

Shackled our minds when we're bent on the cross

When ignorance reigns, life is lost

Shackled our minds when we're left on the cross

When ignorance reigns, life is lost, lost, lost!

Shackle your minds and you're left on the cross!

When ignorance reigns, life is lost!

Just shackle your minds when you're bent on the cross!

When ignorance reigns, life is lost, lost!

PROBABLY MOST FAMOUS RAGE AGAINST THE MACHINE SONG "ARE THE SAME THAT BURN CROSSES"- KILLING IN THE NAME

http://songmeanings.com/songs/view/491/

Killing in the name of

 

Some of those that work forces are the same that burn crosses

Some of those that work forces are the same that burn crosses

Some of those that work forces are the same that burn crosses

Some of those that work forces are the same that burn crosses

BURN CROSSES

RAGE AGAINST THE MACHINE KILLING IN THE NAME

 

https://www.youtube.com/watch?v=bWXazVhlyxQ

CROSS IS A QUADRANT - (also four note motif beginning)

KORN- CRUCIFIED FOR TRUSTING YOU- BLEEDING OUT LYRICS

http://www.azlyrics.com/lyrics/korn/bleedingout.html

I'm Bleeding Out

Been crucified by trusting you

Hate turns to shame

By praising you, adoring fool

FIELDY CRUCIFIED ON BASS GUITAR

http://teamrock.com/feature/2016-10-14/the-a-z-of-korn

Bassist Reginald ‘Fieldy’ Arvizu scribbled alongside New York Times bestselling author Laura Morton for his 2009 confessional, Got The Life: My Journey Of Addiction, Faith, Recovery And Korn. Yeah, Fieldy crucified atop bass guitars on the front-cover is ridiculous, but the way he talks about his wife Dana is the sweetest thing since blue Smarties

CROSSES CRUCIFIXES NIRVANA THROUGHOUT THE VIDEO HEART SHAPED BOX INCLUDING THE FIRST SCENE BED AND CRUCIFIX TAPED ON GROUND

 

https://www.youtube.com/watch?v=n6P0SitRwy8

Quadrant

ONE OF MOST FAMOUS SYSTEM OF A DOWN SONGS- I REMEMBER I ALWAYS LOVED THAT "WHY HAVE YOU FORSAKEN ME" PART- 16 singles

https://en.wikipedia.org/wiki/System_of_a_Down_discography

https://www.youtube.com/watch?v=CSvFpBOe8eY

2:30 CHOP SUEY SYSTEM OF A DOWN REPETITION OF "FATHER FATHER FATHER INTO YOUR HANDS I COMMEND MY SPIRIT FATHER INTO YOUR HANDS WHY HAVE YOU FORSAKEN ME" WHICH IS A REFERENCE TO THE CRUCIFIXION WHAT JESUS SAID ON CRUCIFIX- CROSS IS QUADRANT

DISTURBED LYRICS- CRUCIFIED

 

http://www.azlyrics.com/lyrics/disturbed/crucified.html

Quadrant

 

Till it makes you blind

Till the faces of your former world

Have fallen from your sight

Till you’re mine

Until the voice of doubt no longer

Dominates your mind

I’m crucified

ONE OF MOST FAMOUS NIRVANA SONGS- FOUR POWER CHORD RHIFF

https://en.wikipedia.org/wiki/Smells_Like_Teen_Spirit

"Smells Like Teen Spirit" follows a F–B♭–A♭–D♭ chord progression,[17] with the main guitar riff constructed from four power chords played in a syncopated sixteenth note strum by Cobain.[18] The guitar chords were double tracked because the band "wanted to make it sound more powerful," according to Vig.[19] The chords occasionally lapse into suspended chord voicings as a result of Cobain playing the bottom four strings of the guitar for the thickness of sound.[18] Listeners made many comments that the song bore a passing resemblance to Boston's 1976 hit "More Than a Feeling".[6] Cobain himself held similar opinions, saying that it "was such a clichéd riff. It was so close to a Boston riff or [The Kingsmen's] 'Louie Louie.'"[4] However, Rikky Rooksby points out that "Smells Like Teen Spirit" and "More Than a Feeling" follow different chord progressions.[17]

FOUR POWER CHORD RHIFF

https://en.wikipedia.org/wiki/Smells_Like_Teen_Spirit

Written by Kurt Cobain, Krist Novoselic, and Dave Grohl (lyrics by Cobain, music by Nirvana) and produced by Butch Vig, the song uses a verse-chorus form where the main four-chord riff is used during the intro and chorus to create an alternating loud and quiet dynamic.

SHOUTS "FUCK YOU I WONT DO WHAT YOU TELL ME" 16 times 16 squares quadrant model- first four soft (first quadrant)- second four loudeer (second quadrant) then starts yelling (third quadrant always bad) fourth quadrant yells mother fucker transcendent

https://en.wikipedia.org/wiki/Killing_in_the_Name

The song builds in intensity, with Zack de la Rocha chanting the line "Fuck you, I won't do what you tell me", murmuring the line the first four times, building in a crescendo the next four times and screaming angrily the line the final eight times culminating with De La Rocha screaming "Motherfucker!"[

FOURTHCOMING- FOUR PLAY STRING QUARTET

https://en.wikipedia.org/wiki/Fourthcoming

 

Fourthcoming is an album by FourPlay String Quartet. Fourthcoming, their fourth album, and their first to be recorded live, was released July 3, 2009.[1]

 

It follows the trend of their previous album Now to the Future, containing more originals than covers.

CARMAN CRUCIFIXION

https://kusemaukweli.wordpress.com/2011/05/page/3/

Jesus “MADE IT BIG”? Jesus Christ died a curse for sinful man! See Gal. 3:13, 2 Cor 5:17! Jesus Christ was “despised and rejected of men” (Isa 53:3). Is “MAKING IT BIG” being beaten, smitten, spit upon, mocked and crucified?Carman’s Resurrection Rap video is some of the lowest BLASPHEMY I’ve ever seen! In the video, Carman portrays the Lord Jesus Christ as a confused street hippie, while the pharisees and apostles are black street gang members! The crucifixion takes place, not on Calvary — but in a back alley gang fight! The Lord Jesus Christ is buried in a GARBAGE DUMPSTER. And naturally Carman includes the occult (Carman’s videos are soaked in occult imagery!) as satanic tarot cards tell the Calvary story!

 

Have you seen the “ultra-blasphemous” video “Closer” by Nine Inch Nails? It shows a monkey crucified on a cross!

“If you think I WORSHIP SATAN because of something you see in the ‘Closer’ video [with its images of a crucified monkey]- great!”

NINE INCH NAILS VIDEO CLOSER SHOWS A CRUCIFIED MONKEY- CROSS IS A QUADRANt

https://en.wikipedia.org/wiki/File:Closer_Monkey.jpg

To illustrate the music video for "Closer", a controversial video due its questionable content, which included, among other things, a crucified monkey (pictured).

CLOSER NINE INCH NAILS CRUCIFIED MONKEY

http://www.rollingstone.com/music/pictures/the-15-most-nsfw-music-videos-of-all-time-20110713/nine-inch-nails-closer-1994-0658481

For our purposes, however, the "Closer" clip’s historical significance lies in the fact that it was the first to fulfill the censorship categories of "freaked-out monkey on a crucifix" and "naked bald girl spinning eggs on her fingers."

ONE OF THE EXPLANATIONS FOR THE NAME NINE INCH NAILS WAS THAT JESUS WAS CRUCIFIED WITH NINE INCH NAILS- THE CRUCIFIXION CENTRALITY AND CONTINUITY THROUGHOUT MUSIC HISTORY- Quadrant

http://www.bandnameexplained.com/2013/04/nine-inch-nails-band-name-meaning.html

One common explanation for the name of Reznor's band is that Jesus Christ was crucified with nails nine inches long.

IT IS THOUGHT THAT THE BAND NINE INCH NAILS GETS ITS NAME FROM THE NAILS THAT CRUCIFIED JESUS- CRUCIFIX IS QUADRANT

https://en.wikipedia.org/wiki/Nine_Inch_Nails

Reznor coined the name "Nine Inch Nails" because it "abbreviated easily", rather than for "any literal meaning".[23] Other rumored explanations have circulated, alleging that Reznor chose to reference Jesus' crucifixion with nine-inch spikes.

NINE INCH NAILS NUDE WOMAN WITH A CRUCIFIX MASK- CRUCIFIX IS QUADRANT

https://en.wikipedia.org/wiki/Nine_Inch_Nails

The video shows events in a laboratory dealing with religion, sexuality, animal cruelty, politics, and terror; controversial imagery included a nude bald woman with a crucifix mask, a monkey tied to a cross,

NINE INCH NAILS NUDE WOMAN WITH A CRUCIFIX MASK- CRUCIFIX IS QUADRANT

https://en.wikipedia.org/wiki/Nine_Inch_Nails

The video shows events in a laboratory dealing with religion, sexuality, animal cruelty, politics, and terror; controversial imagery included a nude bald woman with a crucifix mask, a monkey tied to a cross,

CRUCIFIED CHRIST WEEPING BLOOD IN NOVEMBER RAIN GUNS N ROSES- CROSS IS QUADRANT

https://www.theguardian.com/music/2008/may/01/popandrock.gunsnroses

Minute two: Axl tosses and turns in the large lonely bed. We cut to a cathedral, with cute flowergirls throwing rose petals and a statue of the crucified Christ that appears to be weeping blood. Down the aisle walks a beautiful bride who, though she has remembered her corset and train, seems to have succumbed to general memory failure when it came to the lower half of her dress.

STARBOY THE ILLUMINATED CROSS- CROSS PENDANTA big illuminated cross hangs in his room.- CROSS REFLECTS IN HIS EYE

 

https://vigilantcitizen.com/musicbusiness/occult-meaning-weeknds-starboy/

Starboy features The Weeknd destroying his house using an illuminated cross. This strange scene has a powerful occult meaning, especially when one considers The Weeknd’s previous videos. We’ll take a closer look at the occult meaning of Starboy.

 

The Weeknd’s collaboration with Daft Punk is a somewhat perplexing one. While the lyrics celebrate the singer’s fame and material possessions, the video depicts him destroying his house using a red glowing cross. All the while, The Weeknd chants that he’s a “starboy”, a term that has more than one meaning.

 

So, not unlike in Tell Your Friends, The Weeknd kills his “previous self”. To symbolize his rebirth, the new The Weeknd has a new hairstyle. The camera also focuses on another important item: The Weeknd’s cross pendant. This piece of jewelry underlines the spiritual undertone of what is happening on screen. Is The Weeknd now a devout Christian? Well, not really. After all, he just committed murder while wearing that chain, so that is not a good start.

 

A big illuminated cross hangs in his room.

The cross literally catches his eye. The cross reflects inside a single eye, the occult elite’s favorite symbol.

On the left are lightning bolts, in the middle are crosses (and a star) and on the right are more lightning bolts. There are six symbols in each column resulting in … 666.

PUFF DADDY AND NAZ ON THE CROSS

https://en.wikipedia.org/wiki/Hate_Me_Now

The music video for the single, directed by Hype Williams and featuring Nas being crucified, was the subject of extreme controversy, as the original edit also featured Puff Daddy on the cross.[1] A Catholic, Puffy had demanded that his crucifixion scene be excised from the broadcast edit of the video, but the wrong edit was incorrectly sent to MTV and TRL, and aired on April 15, 1999.[2] Within minutes of the broadcast, Puffy had barged into the offices of Nas' manager Steve Stoute with several bodyguards, and struck Stoute over the head with a champagne bottle. Stoute later sued Puffy, the suit was settled out of court.

 

There's a play in New York City where a black man played Jesus, and caught a lot of flak. I think, even the mayor at the time, Giuliani, was against it. So my thing was I wanted to be crucified like Jesus in the video, to get back at all those people that don't want to see a black man doing his thing. Me and Puff got hammered to the cross, but after Puff expressed his religious beliefs and speaking to his pastor, he wasn't ready to take that stance, so it was really my idea anyway, so we took his part out. For some reason, I think [my former manager] Steve Stoute let it fly with Puffy still being crucified to the cross, so there was that fight at the office, where Puff jumped on Steve or some shit like that. Both of them were friends of mine, so I kind of stepped in and squashed the whole thing, and it's all in the past. Just growing pains. We were all growing up. That brings back a lot of memories. Even when I throw it on onstage now, it still kills."[3]

TYLER THE CREATOR GREEN MASK UPSIDE DOWN CROSS- EARL WITH UPSIDE DOWN CROSS

http://thedoggstar.com/articles/end-times/tylers-satanic-odd-future-ofwgkta/

Check out the image of Tyler next to a demon possessed women who walked around the whole stage during the entire song, as well as the one of him surrounded by gnomes, while using his famous green mask with the upside-cross in the middle of his forehead.

 

On the Album Cover, Tyler appears with an upside-cross on his forehead and completely darkened eyes, once again, a sign of possession.

 

Earl Sweatshirt

 

As mentioned above, the other co-fouder of Odd Future is Earl, who has been missing according to the other members, however there have been some clues that seem to indicate his current location. Here’s one of the shirts Tyler made with the picture of Earl on it, having an upside-down cross on his forehead.

I'm a paragraph. Click here to add your own text and edit me. It's easy.

KODAK BLACK BURNING CROSS

http://www.hotnewhiphop.com/kodak-black-tunnel-vision-video-new-video.39783.html

The visuals fit well with the Metro Boomin and Southside-produced song. Kodak spits about a system rigged against him and his tribe. The images are nuts, with Kodak -- wearing a Haitian flag for a bandana -- and his boys showing up in front of a burning cross and a lynched KKK member.

NAS IN ALBUM GODS SON SONG "THE CROSS" "I CARRY THE CROSS"

https://genius.com/Nas-the-cross-lyrics

I carry the cross, if Virgin Mary had an abortion

I'd still be carried in the chariot by stampeding horses

Had to bring it back to New York

I'm happy that the streets is back in New York

For you rappers, I carry the cross

NAS- CARRY THE CROSS- THE CROSS IS THE QUADRANT

 

https://www.youtube.com/watch?v=R2MjgtDojtk

QUADRANT

NAS MAKES VARIOUS BIBLICAL REFERNCES TO DESCRIBE HIMSELF ON THE CROSS

https://en.wikipedia.org/wiki/God%27s_Son_(album)

He ponders the concept of heaven on "Heaven", and makes various biblical references to describe himself on "The Cross".

Looking to make a playlist of songs that are about or reference the Crucifixion. Not looking for specifically religious songs, though I could see some gospel going well in this mix. References can be direct or very indirect. E.g., I'll take passing use of the word "Calvary", etc.


Let's get the obvious out of the way: Crucify by Tori Amos.

One that is slightly more oblique: Tomorrow Wendy by Concrete Blonde.

Okay—go.

posted by jeffamaphone to Media & Arts (63 answers total)  2 users marked this as a favorite

 

"Ringfinger" ("You just leave me nailed here/hanging like Jesus on his cross") off Nine Inch Nails' Pretty Hate Machine.
posted by griphus at 10:56 AM on March 4, 2013 


 

"Calvary," Levon Helm.
posted by MonkeyToes at 10:59 AM on March 4, 2013 


 

Gethsemene in Jesus Christ Superstar (all about Jesus's decision to go through with the crucifixion) - though perhaps you're only looking for mainstream, non-broadway music.
posted by slide at 11:00 AM on March 4, 2013 


 

Yup, lots of gospel hymns here, especially There is Power in the Blood and When I Survey the Wondrous Cross. Both of these have been recorded nicely by Susan Luchsinger, the sister of Reba McEntire.
posted by Melismata at 11:01 AM on March 4, 2013 


 

"Calvary Cross," Richard & Linda Thompson.
posted by mattstan at 11:03 AM on March 4, 2013 [1 favorite


 

"Golgotha Tenement Blues" by Machines of Loving Grace
posted by sacrifix at 11:05 AM on March 4, 2013 


 

Jars of Clay Liquid (just one of many in the contemporary Christian genre)
posted by The Deej at 11:05 AM on March 4, 2013 


 

The Jim Carroll Band, Catholic Boy ("I understand the fate of all my enemies / I'm like Christ in the garden of Gethsemane")

The Psychedelic Furs, Imitation of Christ ("Another Christ is on the cross / The nails are words, the nails are lies / To make it crawl and make it scream / And make it real and make it bleed")
posted by scody at 11:07 AM on March 4, 2013 


 

Sufjan Stevens treats the subject more obliquely in his song To Be Alone With You.
posted by rabbitbookworm at 11:07 AM on March 4, 2013 [2 favorites


 

Cotton Fields by the Pogues, has crucifixion references, although not really to THE crucifixion.
posted by MoonOrb at 11:09 AM on March 4, 2013 


 

Crucifixion by Phil Ochs, which, while haunting, is also one of my top five favorite songs ever.
posted by General Malaise at 11:10 AM on March 4, 2013 


 

If you are in fact taking on Broadway showtunes as well as mainstream music, you should include "Man Up" from The Book of Mormon.
posted by dlugoczaj at 11:13 AM on March 4, 2013 


 

Oh, and can't forget the Stones' Sympathy for the Devil: "And I was 'round when Jesus Christ / Had his moment of doubt and pain / Made damn sure that Pilate / Washed his hands and sealed his fate."
posted by scody at 11:16 AM on March 4, 2013 


 

"The Mercy Seat" by Nick Cave and The Bad Seeds or Johnny Cash.
posted by infinitewindow at 11:16 AM on March 4, 2013 [1 favorite


 

Gavin Bryars recorded a street person singing the refrain "Jesus' blood never failed me yet" over and over again, and set it to music. (That version has Tom Waits singing in the background.)

Nick Cave's song Darker With The Day (no youtube, I'm afraid) contains a line about "a gilled Jesus shivering on a fisherman's hook" which I always took to be an oblique reference to crucifixion.
posted by gauche at 11:17 AM on March 4, 2013 [1 favorite


 

U2 and B.B. King, When Love Comes To Town - for the last verse ("I was there when they crucified my Lord/I held the scabbard when the soldier drew his sword/I threw the dice when they pierced His side/But I've seen love conquer the great divide").

The title cut off Peter Gabriel's "Passion" album. "Passion" is based on the soundtrack Peter did for The Last Tempation of Christ, and "Passion" is the cut that was based on the music for the Crucifixion in the film.

I say "based on" as Peter likes to tinker with soundtracks after he does them, so by the time he does the album they're sometimes a little different.
posted by EmpressCallipygos at 11:18 AM on March 4, 2013 


 

"Dumb Love" by Jerry Jerry and the Sons of Rhythm Orchestra (Road Gore, the Band that Drank Too Much).
posted by mazola at 11:18 AM on March 4, 2013 


 

The dude you are looking for here is Craig Finn and his band is the Hold Steady.

"No Future" (I've been reading about the Calvary / the Crucifixion still gets to me / I guess Golgotha means the mount of execution)

"New Friend Jesus" (People say we suck at sports but they don't understand / it's hard to catch with holes right through your hands)

"Crucifixion Cruise" & follow-up "How a Resurrection Really Feels" from the Jesus-motif-filled concept album Separation Sunday

"Both Crosses" (At first she thought Judas might go for the mouth / she saw the nails and she saw the hands / She saw the blood and she heard the band)

…and many, many more.
posted by honey wheat at 11:21 AM on March 4, 2013 [1 favorite


 

"By the Mark," Gillian Welch (I know you're less interested in gospel, but this song is awesome.)
posted by entropicamericana at 11:21 AM on March 4, 2013 [2 favorites


 

Oh, and to mix it all to hell, Crucify by Agnostic Front.
posted by General Malaise at 11:21 AM on March 4, 2013 


 

Leonard Cohen, Everybody Knows:

And everybody knows that you're in trouble
Everybody knows what you've been through
From the bloody cross on top of Calvary
To the beach of Malibu
Everybody knows it's coming apart
Take one last look at this Sacred Heart
Before it blows
And everybody knows
posted by hurdy gurdy girl at 11:23 AM on March 4, 2013 [2 favorites


 

Nick Cave and the Bad Seeds, The Mercy Seat:

I hear stories from the chamber
Christ was born into a manger
And like some ragged stranger
He died upon the cross

Might I say, it seems so fitting in its way: 
He was a carpenter by trade
Or at least that's what I'm told

Personally, though, I prefer Johnny Cash's cover version.
posted by Flunkie at 11:24 AM on March 4, 2013 [2 favorites


 

Another one: Crowded House, Nails in My Feet (title and video imagery are obvious, but lyrics themselves are very oblique)
posted by scody at 11:30 AM on March 4, 2013 


 

Banging in the Nails, by the Tiger Lillies, is my all time favorite crucifixion song. Pretty decent potential of offending the devout, just to warn you.
posted by a box and a stick and a string and a bear at 11:31 AM on March 4, 2013 


 

"Christ, you know it ain't easy
You know how hard it can be
The way things are goin'
They're gonna crucify me"
--Lennon/McCartney, "The Ballad of John and Yoko"
posted by kimota at 11:32 AM on March 4, 2013 [2 favorites


 

Passing Through, this version sung by Pete Seeger.
posted by DMelanogaster at 11:35 AM on March 4, 2013 


 

Reverend Beat-Man's Jesus Christ Twist?
posted by Ursula Hitler at 11:36 AM on March 4, 2013 


 

There are lot's of songs called roll away the stone
posted by canoehead at 11:38 AM on March 4, 2013 


 

1 from Springsteen:

Jesus Was an Only Son:

 Jesus was an only son
As he walked up Calvary Hill
His mother Mary walking beside him
In the path where his blood spilled
Jesus was an only son
In the hills of Nazareth
As he lay reading the Psalms of David
At his mother's feet

posted by wemayfreeze at 11:47 AM on March 4, 2013 [1 favorite


 

Leonard Cohen – Suzanne

And Jesus was a sailor 
When he walked upon the water 
And he spent a long time watching 
From his lonely wooden tower
And when he knew for certain 
Only drowning men could see him 
He said "All men will be sailors then 
Until the sea shall free them" 

posted by wemayfreeze at 11:48 AM on March 4, 2013 


 

for crucify, there's "Tonight, Tonight" by The Smashing Pumpkins: "Crucify the insincere tonight"

the crucifixion is also referred to in the song "Jesus Christ" by Brand New (lyrics): "But I’m scared I’ll get scared and I swear I’ll try to nail you back up" & "we all got wood and nails"

something with "cavalry" is bumping around in my brain but I can't recall. will continue to ponder.
posted by changeling at 11:56 AM on March 4, 2013 


 

"Once Upon the Cross" by Deicide (and probably a lot of other ones by them.)

Blasphemy laughs at thee
Jesus, you've been deceived
Struggling on the cross
Gagging to breathe

Cult by Slayer, from the album Christ Illusion. Probably a lot of other ones by them too.

The pestilence is Jesus Christ
There never was a sacrifice
No man upon the crucifix
Beware the cult of purity
Infectious imbecility
I've made my choice. Six! Six! Six!

Eulogy by Tool:

Come down.
Get off your fuckin cross.
We need the fuckin space to nail the next fool martyr.

To ascend you must die.
You must be crucified
For our sins and our lies.
Goodbye!

Tori Amos, Crucify

I've been raising up my hands drive another nail in 
Just what God needs one more victim
Why do we crucify ourselves? 
Everyday I crucify myself 
And nothing I do is good enough for you 
I crucify myself



posted by TheRedArmy at 11:56 AM on March 4, 2013 


 

If you don't mind them being delightfully blasphemous, Eulogy by Tool.
posted by lydhre at 11:57 AM on March 4, 2013 


 

Stone Roses, "Love Spreads"

Love spreads her arms, waits there for the nails
"I forgive you, boy, I will prevail"
...
Let me put you in the picture, let me show you what I mean
The messiah is my sister, ain't no king, man, she's my queen
posted by Flannery Culp at 11:57 AM on March 4, 2013 [1 favorite


 

Jesus was a Crossmaker by Judee Sill.
posted by dortmunder at 12:15 PM on March 4, 2013 [1 favorite


 

Softly Moses, by Erin McKeown 

"I wish I could die for thee, 
on a technicolor cavalary."
posted by wg at 12:18 PM on March 4, 2013 


 

"Lover's Cross" Jim Croce
posted by Billiken at 12:20 PM on March 4, 2013 


 

Gloria, Patti Smith: "Jesus died for somebody's sins, but not mine."
posted by stebulus at 12:37 PM on March 4, 2013 [1 favorite


 

The very odd R.E.M. ditty Voice of Harold includes lyrics which singer Michael Stipe apparently read off the back of a gospel album, including:

Charles Surratt introduces his own composition "On Calvary For Me"

-and-

The pure tenor quality of the voice of Harold Montgomery gives a special interpretation to the grand old hymn "The Old Rugged Cross"
posted by jabes at 12:51 PM on March 4, 2013 


 

Possibly a stretch for your purposes, but the Tom Waits tune, "Come on Up to the House" has a great line about metaphorical crucifixion: "All your cryin' don't do no good...come down off the cross, we could use the wood."
posted by voiceofreason at 12:52 PM on March 4, 2013 [1 favorite


 

Jesus Christ Pose - Soundgarden

And that's the official video too. Someone must have been seriously messed up.
posted by theichibun at 1:17 PM on March 4, 2013 


 

In the musical (and film) Godspell, the song "Finale" is sung by Jesus (answered by the rest of the cast) as he's being crucified.
posted by theatro at 1:23 PM on March 4, 2013 


 

Speaking of films, what about Always Look on the Bright Side of Life?
posted by scody at 1:34 PM on March 4, 2013 [1 favorite


 

These are all great. Can't wait to get home and sort through it all. Broadway is totally acceptable.
posted by jeffamaphone at 1:42 PM on March 4, 2013 


 

Grant Hart, "The Main":
She was so crucified by the end of the day
With her head in her hands she decided to pray
Jesus Christ topped the list of the most wanted souls
Like De Quincey he died with his arms full of holes
posted by cowboy_sally at 2:18 PM on March 4, 2013 


 

Dave Matthews Band - Christmas Song (basically the story of Jesus)

When Jesus Christ was nailed to his tree 
Said "oh, Daddy-o, I can see how it all soon will be 
I came to shed a little light on this darkening scene 
Instead I fear I've spilled the blood of my children all around"
The blood of our children all around
The blood of our children all around
posted by pised at 2:44 PM on March 4, 2013 


 

Firewater - Bourbon & Division

Friday was the crucifixion
Saturday, cremation under glass 
The resurrection was on Sunday 
No, correction, make it Monday 
'Cause Monday's when they come to take the trash

posted by DirtyOldTown at 3:30 PM on March 4, 2013 


 

My mom used to listen to "Via Dolorosa" by Sandy Patti non-stop. It is incredibly schmaltzy, be forewarned.
posted by tacodave at 3:50 PM on March 4, 2013 


 

The dude you are looking for here is Craig Finn and his band is the Hold Steady.

"No Future" yt (I've been reading about the Calvary / the Crucifixion still gets to me / I guess Golgotha means the mount of execution)

"New Friend Jesus" yt (People say we suck at sports but they don't understand / it's hard to catch with holes right through your hands)

"Crucifixion Cruise" & follow-up "How a Resurrection Really Feels" yt from the Jesus-motif-filled concept album Separation Sunday

"Both Crosses" yt (At first she thought Judas might go for the mouth / she saw the nails and she saw the hands / She saw the blood and she heard the band)

…and many, many more.

Well, I missed my one chance for my obsession to be relevant for once.

Does the song need to be officially released? Against Me! have been playing Osama bin Laden as the Crucified Christ live, and somebody has already transcribed lyrics.

They made me think of the musical Hedwig & The Angry Inch and Nailed: By the gold light of your halo I wanna nail ya
Give you lovin' and devotion that won't ever fail ya
Wanna run my mouth over your wounds
And fall on the ground
And the holes in your hands and your feet they help to nail you down

Nail ya down
Nailed
Nailed
Nailed
They made you Christ to get ya nailed
When you hover in the night like a holy vision
With the crimson and the purple of your incision
Wanna run my fingers through your hair and over your pale skin
On the fringe, shit, Jesus Christ man, you sure wanna nail ya
posted by Charlemagne In Sweatpants at 4:02 PM on March 4, 2013 


 

I think the chorus of Nick Cave's  Oh My Lord references Jesus' words to God when he's on the Cross. I feel like there's more of his songs than just this and Mercy Seat though. 

I knew that Titus Andronicus, with their love of the Hold Steady and melodrama, couldn't resist this metaphor and I finally found a Christ lyric in 'Arms Against Atrophy': 

It ain't hard to see that it's not that way, not that way anymore. Jesus Christ is suffering upon his cross tonight. I just sit outside waiting for frost to bite. "It's always this way," she says on her way out the door. Wait and see. The rest is yet to reveal itself to me.
posted by Charlemagne In Sweatpants at 4:14 PM on March 4, 2013 


 

A Perfect Circle's Judith.

It's not like you killed someone
it's not like you drove a spiteful spear into his side
Pray to the one who left you broken down and paralyzed
He did it all for you.
posted by bfranklin at 4:40 PM on March 4, 2013 [1 favorite


 

There's a lot of this in emo/pop punk/metalcore:

Bring Me The Horizon - Crucify Me

Brand New - Jesus/Jesus Christ: 

Well, Jesus Christ, I'm alone again
So what did you do those three days you were dead?
'cause this problem's gonna last more than the weekend.

Well, Jesus Christ, I'm not scared to die,
I'm a little bit scared of what comes after
Do I get the gold chariot?
Do I float through the ceiling?

Do I divide and fall apart?
'cause my bright is too slight to hold back all my dark
And the ship went down in sight of land
And at the gates does Thomas ask to see my hands

I know you're coming in the night like a thief
But I've had some time, O Lord, to hone my lying technique
I know you think that I'm someone you can trust
But I'm scared I'll get scared and I swear I'll try to nail you back up

Green Day - Jesus of Suburbia:

I'm the son of rage and love
The Jesus of Suburbia
From the bible of none of the above
On a steady diet of
Soda pop and Ritalin
No one ever died for my sins in hell
As far as I can tell
At least the ones I got away with

And there's nothing wrong with me
This is how I'm supposed to be
In a land of make believe
That don't believe in me

Get my television fixed
Sitting on my crucifix
The living room or my private womb
While the Moms and Brads are away
To fall in love and fall in debt
To alcohol and cigarettes
And Mary Jane
To keep me insane,
Doing someone else's cocaine
posted by Charlemagne In Sweatpants at 4:54 PM on March 4, 2013 


 

"Carry on my wayward son"-Kansas
Many people don't realize Kansas is a Christian rock band
posted by irish01 at 5:53 PM on March 4, 2013 


 

"Christ, himself, upon the cross
Said to the guy who banged in the nail,
'Mate, things they can't be all that bad
When Derryn Hinch goes to jail.'"

The Penis Is Mightier Than The Sword - TISM
posted by pompomtom at 6:15 PM on March 4, 2013 


 

Carman's This Blood's for You
posted by soelo at 6:17 PM on March 4, 2013 


 

Deerhunter - Calvary Scars
This Moment In Black History - Nailed to the Cross
posted by hydrophonic at 8:06 PM on March 4, 2013 


 

Selling The Drama by Live:

And to Christ, a cross
And to me, a chair
I will sit and earn the ransom from up here

posted by mbrubeck at 9:42 PM on March 4, 2013 


 

"Dime Store Mystery" by Lou Reed.
posted by mzurer at 10:40 PM on March 4, 2013 


 

Alabama 3, 2129:

you fell into the arms of Mary Magdalene
stain of stigmata on your hands
when the sky fell down on Calvary
I saw the light shining in your eyes, yeah


(And probably some more Alabama 3, since they're really into the semi-ironic use of Christianity).
posted by novalis_dt at 11:32 PM on March 4, 2013 [1 favorite


 

"Jesus Christ" by Woody Guthrie.
posted by entropicamericana at 9:34 AM on March 5, 2013 


 

(It'll take me a while to mark all the best answers, so please don't be offended if I haven't gotten to you yet.)
posted by jeffamaphone at 5:45 PM on March 5, 2013 


 

There is no Tool on spotify. -_-
posted by jeffamaphone at 4:12 PM on March 7, 2013 


 

Jonny Lang and the Fisk Jubilee Singers, "I Believe." Rockin' and stompin.' "Because He made a way for me/When He died on Calvary..."
posted by MonkeyToes at 4:05 PM on March 10, 2013 

FRED DURST LIMP BIZKIT VERY POPULAR SONG AT THE TIME "WHO CAN BE THE BOSS LOOK UP TO THE CROSS"- cross is the quadrant- WITH MEHTOD MAN

 

https://www.youtube.com/watch?v=FyjG1Ocwsf8

QUADRANT

https://www.youtube.com/watch?v=iwykvrwvWW4

These four guys are funny from movie Josie and the Pussycats

https://www.youtube.com/watch?v=aRSkYTB_Lv0

Dujour pardoy four member boy band in bands the fourth member always different

ATALLI FOUR STAGES MUSIC

https://en.wikipedia.org/wiki/Noise:_The_Political_Economy_of_Music

Attali's Four Stages of Music[edit]

Attali believes that music has gone through four distinct cultural stages in its history: Sacrificing, Representing, Repeating, and a fourth cultural stage which could roughly be called Post-Repeating. These stages are each linked to a certain "mode of production"; that is to say, each of these stages carries with it a certain set of technologies for producing, recording and disseminating music, and also concomitant cultural structures that allow for music's transmission and reception.

X IS THE QUADRANT

https://en.wikipedia.org/wiki/X_(Kylie_Minogue_album)

X (Kylie Minogue album)

From Wikipedia, the free encyclopedia

X

KylieXCover.png

Studio album by Kylie Minogue

Released 21 November 2007

Recorded May 2006 – August 2007

Studio

Various[show]

Genre

Dance-pop electropop[1]

Length 45:12

Label Parlophone

Producer

Bloodshy & Avant Guy Chambers Cutfather Cathy Dennis Freemasons Calvin Harris Jonas Jeberg Kish Mauve Greg Kurstin Richard "Biff" Stannard Eg White

Kylie Minogue chronology

Ultimate Kylie

(2004) X

(2007) Aphrodite

(2010)

Singles from X

"2 Hearts"

Released: 9 November 2007

"In My Arms"

Released: 15 February 2008

"Wow"

Released: 15 February 2008

"All I See"

Released: 11 March 2008

"The One"

Released: 28 July 2008

X is the tenth studio album by Australian singer Kylie Minogue. It was released on 21 November 2007 by Parlophone. It is her first release since the greatest hits compilation Ultimate Kylie (2004), and her first studio album since Body Language (2003). Work on the album began following Minogue's gradual recovery from breast cancer and subsequent radiotherapy treatment. Her cancer, which was diagnosed in May 2005, resulted in the postponement of Showgirl: The Greatest Hits Tour midway through its run. Minogue resumed the tour in late 2006, in the midst of recording X, and was completed later in the following year. The album introduced new American and European producers including Bloodshy & Avant, Guy Chambers, Calvin Harris and Freemasons.

X IS THE QUADRANT

Kylie Minogue is doing the Illuminati Vow of Silence on the cover to her album called X:

http://illuminatiwatcher.com/decoding-illuminati-symbolism-mark-beast-x/

Quadrant

Ariana Grande is running around a apocalyptic scene of the fiery end of our planet, but you’ll notice that they ensured the Mark of the Beast was neatly hidden in the background:

 

https://i1.wp.com/illuminatiwatcher.com/wp-content/uploads/2015/02/Ariana-Grande-Mark-of-Beast-X-O-video.jpeg

http://illuminatiwatcher.com/decoding-illuminati-symbolism-mark-beast-x/

Quadrant

TUPAC X

http://illuminatiwatcher.com/decoding-illuminati-symbolism-mark-beast-x/

https://i0.wp.com/illuminatiwatcher.com/wp-content/uploads/2015/02/IlluminatiWatcherDotCom-Tupac-2pac-bathtub-bitch-X-mark-beast-WO.jpg

Here is Tupac in a bathtub (symbolism we find indicative of the ‘selling out’ to the Illuminati by becoming their “bathtub bitch”; which is how we found Whitney Houston and her daughter when they passed):

Eminem released the appropriately titled Shady XV which I’ve posted all about, but you can see the “X” and the “V”:

 

https://i1.wp.com/illuminatiwatcher.com/wp-content/uploads/2015/02/IlluminatiWatcherDotCom-Shady-XV-Mark-of-Beast-X-WO.jpg

http://illuminatiwatcher.com/decoding-illuminati-symbolism-mark-beast-x/

Quadrant

MADONNA X ON HER FACE

https://i0.wp.com/illuminatiwatcher.com/wp-content/uploads/2015/02/IlluminatiWatcherDotCom-Madonna-Rebel-Heart-Mark-of-Beast-X-WO.jpg

http://illuminatiwatcher.com/decoding-illuminati-symbolism-mark-beast-x/

Madonna has a new album called Rebel Heart (with a song called Illuminati on it) that shows her with an “X” over her face:

FOUR GUYS FIVE SECONDS SUMMER

 

https://i1.wp.com/illuminatiwatcher.com/wp-content/uploads/2014/06/IlluminatiWatcherDotCom-5-Seconds-of-Summer-Moloch-horns-2.jpg

http://illuminatiwatcher.com/illuminati-symbolism-5-seconds-summer/

 

Here is an album cover where they literally have horns atop their head. Another subtle symbol is the large ‘X’ across it; which is a symbol for the Mark of the Beast. If you look closely, you’ll actually see three X’s; the 6-6-6. The reason for this is Hebrew gematria or numerology. The ‘X’ is the 24th letter of the alphabet and 2+4=6; the Kabbalistic reduction of the number. I got further into this topic in Kabbalah conspiracy theories and Illuminati symbolism in pop culture:

FOUR ELEMENTS

https://en.wikipedia.org/wiki/Classical_elements_in_popular_culture

The Alchemy Index is Thrice's fifth studio recording, a four-disc concept album that was split between two releases, the first in October 2007 and the second in April 2008. The band originally planned to release four discs at once, each disc with six tracks representing one of the four classical elements: Fire, Water, Earth, and Air.

 

Recorded in guitarist Teppei Teranishi's house in Orange, "Alchemy" is full of experimentation. Inspired by Radiohead, Botch, Pelican and ISIS among others, Thrice has produced an effort that can be blisteringly heavy and melodically serene, as evidenced by the sludgy baritone guitar work of "Fire" and the sampled drums, synthesizers and piano on "Water." Kensrue said "Earth," recorded to sound as if the listener was in the room where it was being played, features acoustic guitars, upright bass, banjos, piano, tambourine and some horns. Air, the singer said, is the most dynamic and ties the other three records together.[9]

 

The final song on each disc is written in the form of a sonnet, depicting the relationship of man with each of the particular elements. Each of these songs is in iambic pentameter, with a concluding rhyming couplet. These final couplets also contain the same vocal melody and chord progression as each other, although they are in different keys. The Artwork for the Album was designed by Dustin Kensrue.

BASED ON THE FOUR ELEMENTS

https://en.wikipedia.org/wiki/Classical_elements_in_popular_culture

Mastodon[edit]

Main article: Mastodon (band)

Each of the first four albums by the heavy metal band Mastodon is based on one of the classical elements: Remission is based on fire, Leviathan is based on water, Blood Mountain is based on earth, and Crack the Skye is based on aether. There is no album based on air, as the band dropped this concept with their fifth album The Hunter.

REPRESENTS THE FOUR ELEMENTS

https://en.wikipedia.org/wiki/The_Alchemy_Index_Vols._I_%26_II

The Alchemy Index Vols. I & II is Thrice's fifth studio album. It consists of the first two volumes of The Alchemy Index, a four-disc concept album that was split between two releases, the first in October 2007 and the second in April 2008. The band originally planned to release four discs at once, each disc with six tracks representing one of the four classical elements: Fire, Water, Earth, and Air. The album was recorded from late 2006 to early 2007, and a blog titled The Alchemy Index chronicled the album's progress for fans.

FOUR DISCS FOUR ELEMENTS

https://en.wikipedia.org/wiki/The_Alchemy_Index_Vols._III_%26_IV

The Alchemy Index Vols. III & IV is Thrice's sixth studio album release. It consists of the final two volumes of The Alchemy Index, a four-disc concept album that was split between two releases, the first in October 2007 and the second in April 2008. The band originally planned to release four discs at once, each disc with six tracks representing one of the four elements: Fire, Water, Earth, and Air. A blog titled The Alchemy Index chronicled the album's progress for fans. The artwork for the Album was designed by Dustin Kensrue.

THE FOUR SHAPE NOTE SYSTEM

https://fasola.org/introduction/note_shapes.html

The singing of syllables (solmization) to teach students scales & intervals is usually credited to Guido d' Arezzo (11th century, a six syllable system ut, re, mi, fa, sol, la). In England, by Elizabethan times, this system became simplified to four syllables fa, sol, la, and mi.

A singer would be taught to associate the singing of a given syllable with a particular scale degree. For example the major scale would be sung (while singing the syllables) fa, sol, la, fa, sol, la, mi, fa. This technique was transplanted from Great Britain to colonial America long before any change occurred in the conventional roundhead music notation.

 

The four shape note system used in the Sacred Harp came into being during a whirlwind of American invention. Nothing and no institution was above diddling. This particular shape system was but part of an endless tinkering with music notation that 18th and 19th century Americans indulged in. Little and Smith with the Easy Instructor invented and patented of the four shape note system, but it was but the latest in a long line of experimental music notations . [sidebar on why experiment]

 

The south was far more resilent in preserving their ways. But even here the long arm of this movement was felt, and thus the seven shaped note system was born. With the exception of the editors of a handful of books Southern shaped note tune compilers largerly accepted the belief that the seven syllable ("one for each note") solmization was superior to the old fashioned fasola approach. Chief among those leading the charge to this trough was "singing Billy Walker" (compiler of the four shape Southern Harmony) with his Christian Harmony. Although a variety of seven shape notations were invented, the emerging standard was created by Jesse Aiken.

THE FOUR SHAPE SYSTEM

https://en.wikipedia.org/wiki/Sacred_Harp

In shape-note music, notes are printed in special shapes that help the reader identify them on the musical scale. 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,[2] 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 as follows:

FOUR PARTS FOUR BAR PHRASES

https://en.wikipedia.org/wiki/Sacred_Harp

Sacred Harp groups always sing a cappella, that is to say, without accompanying instruments.[3][4] The singers arrange themselves in a hollow square, with rows of chairs or pews on each side assigned to each of the four parts: treble, alto, tenor, and bass. The treble and tenor sections are usually mixed, with men and women singing the notes an octave apart.

 

In their musical form, Sacred Harp songs fall into three basic types. Many are ordinary hymn tunes, mostly composed in four-bar phrases and sung in multiple verses. Fuging tunes contain a prominent passage about 1/3 of the way through in which each of the four choral parts enters in succession, in a way resembling a fugue. Anthems are longer songs, less regular in form, that are sung through just once rather than in multiple verses.[5]

 

https://en.wikipedia.org/wiki/File:HollowSquareInSacredHarp.PNG

The hollow-square seating arrangement for Sacred Harp singing

 

Quadrant

SEATING ARRANGEMENT FOUR PARTS IN SQUARE- FOUR PART HYMN

https://en.wikipedia.org/wiki/Sacred_Harp

First, the seating arrangement (four parts in a square, facing each other) is clearly intended for the singers, not for external listeners. Non-singers are always welcome to attend a singing, but typically they sit among the singers in the back rows of the tenor section, rather than in a designated separate audience location.

 

These traits included the assignment of the melody to the tenors, harmonic structure emphasizing fourths and fifth, and the distinction between the ordinary four-part hymn ("plain tune"), the anthem, and the fuging tune

FOUR REGIONS SACRED HARP SINGING

https://en.wikipedia.org/wiki/Sacred_Harp

Two other books are currently used by Sacred Harp singers. A few singers in north Georgia employ the "White book," an expanded version of the 1869 B. F. White edition edited by J. L. White. African-American Sacred Harp singers, although primarily users of the Cooper book, also make use of a supplementary volume, The Colored Sacred Harp, produced by Judge Jackson (1883–1958) in 1934 and later revised in two subsequent editions. In his book Judge Jackson and The Colored Sacred Harp, Joe Dan Boyd identified four regions of Sacred Harp singing among African-Americans: eastern Texas (Cooper book), northern Mississippi (Denson book), south Alabama and Florida (Cooper book), and New Jersey (Cooper book). The Colored Sacred Harp is limited to the New Jersey and south Alabama-Florida groups. Sacred Harp was "exported" from south Alabama to New Jersey. It appears to have died out among the African-Americans in eastern Texas.

I'm a paragraph. Click here to add your own text and

SACRED HARP FOUR HISTORICAL LAYERS

https://en.wikipedia.org/wiki/Sacred_Harp

The music used in Sacred Harp singing is eclectic. Most of the songs can be assigned to one of four historical layers.

 

The oldest of these layers comes from 18th century New England, and represents a rendition in shape notes of the work of outstanding early American composers such as William Billings and Daniel Read, who worked as singing masters.

A second layer comes from the decades around 1830, following the migration of the shape note tradition to the rural South. Many of the songs in this layer are believed to be originally secular folk tunes, harmonized in parts and given religious lyrics. As one would expect from the folk origin of such music, it often emphasizes the notes of the pentatonic scale. They often employ stark, vivid harmonies based on open fifths. Most of the songs of this layer were originally composed in just three parts (treble, tenor, bass), with the altos added later, as noted above.

The sound of this musical layer, as well as to some extent The Sacred Harp in general, can be observed by comparing versions of the well-known hymn "Amazing Grace", which is familiar to many Americans in a form such as the following:

 

 

A familiar harmonization of "Amazing Grace". Click to hear piano reduction (Ogg format, 234K)

In The Sacred Harp (1991 edition), "Amazing Grace" is harmonized quite differently. Note that the "air", or melody, is in the tenor.

 

 

"Amazing Grace" in a form similar to that in The Sacred Harp, 1991 edition. Click to hear piano reduction (Ogg format, 225K)

(As noted above, the title "New Britain" is the name of the tune, not the song as a whole.)

A third layer of Sacred Harp music is from the mid nineteenth century and represents the popular sensibility of that era. A number of these mid-century works have an almost primal simplicity—the harmony is essentially a single extended major chord, and the parts a decoration in slow tempo of that chord.

The most recent layer consists of the songs that were added to the books during the twentieth century. These are the work of musically creative participants in the Sacred Harp tradition, who strove to create songs that would fit into the existing tradition by adopting the style of one of the earlier periods. About a sixth of the Denson edition is taken up with such compositions, dating from as recently as 1990. The twentieth-century composers often have recycled their lyrics from earlier Sacred Harp songs (or from their sources, such as the work of the 18th-century hymnodist Isaac Watts). A number of these modern compositions have become favorites of the singing community, and it is anticipated that future editions of The Sacred Harp will also include new songs.

me. It's easy.

FOUR SHAPE

https://en.wikipedia.org/wiki/List_of_shape-note_tunebooks

Four-shape shape-note tunebooks[edit]

The American Vocalist, D.H. Mansfield (1849) (partially reprinted 2010)

The Easy Instructor, William Little & William Smith (1801)

Repository of Sacred Music, John Wyeth (1810)

Repository of Sacred Music, Part Second, John Wyeth (1813)

The Beauties of Harmony, Freeman Lewis (1813)

Kentucky Harmony, Ananias Davisson (1816)

Tennessee Harmony, Alexander Johnson (1818)

The Missouri Harmony, Allen D. Carden (1820) (reprinted 2005)

Songs of Zion, James P. Carrell (1821)

Columbian Harmony, William Moore (1825)

The Virginia Harmony, James P. Carrell and David L. Clayton (1831)

Genuine Church Music: Harmonia Sacra, Joseph Funk (1832)

The Southern Harmony, William Walker (1835)

Union Harmony, William Caldwell (1837)

The Sacred Harp, B. F. White & Elisha J. King (1844)

Hesperian Harp, Dr. William Hauser (1848)

The Social Harp, John Gordon McCurry (1855)

The Colored Sacred Harp, Judge Jackson (1934)

Northern Harmony, Larry Gordon & Anthony G. Barrand (1979; 5th edition 2012)

An Eclectic Harmony, Eclectic Harmony Music Committee, Liz Bryant, Chair. Atlanta, (1999)

An American Christmas Harp, Karen E. Willard. Puyallup, Washington (2000; 2nd ed. 2009)

Oberlin Harmony, Chloe Maher and Charles Wells (2002)

High Desert Harmony, Daniel Davis. Albuquerque, (2004)

Norumbega Harmony, Stephen A. Marini, Boston, Massachusetts (2004)

The Christian Harmony (4-shape edition of Jeremiah Ingalls' 1805 tunebook), Thomas B. Malone self-published, (2005)

The Georgian Harmony, Raymond C. Hamrick (2010)

The Shenandoah Harmony John del Re, Kelly Macklin, Leyland del Re (and others) Boyce, Virginia (2012)

FOUR V THREE

https://en.wikipedia.org/wiki/Sacred_Harp_hymnwriters_and_composers

The different historical eras used different modes of composition. While the New England composers wrote mostly in four parts (treble, alto, tenor, bass), their Southern successor in the 19th century typically wrote in just three (treble, tenor, and bass). Their work was altered around the turn of the 20th century, when alto parts were added, first in the new Cooper edition (1902) and later to what ultimately became the modern "Denson" edition; the latter were written mostly by Seaborn Denson.

https://jazztimes.com/columns/chops/an-introduction-to-scat-singing/

Learning the 12-bar blues form is essential, and “Centerpiece” by Lambert, Hendricks & Ross is an excellent simple blues to begin with. Set your metronome and snap on beats 2 and 4. Feel the swing. Using straight tones, memorize the root movements, then add the thirds and sevenths of each chord. Practice scatting four bars of melody, then four bars of improvisation; repeat through the 12 bars several times. Use the syllables “doo bah doo bah do” or “da bah da bah da,” and try to think like a horn player. Record and review your practice to keep track of your improvement.

THE FOUR SHAPED NOTES

https://www.britannica.com/art/shape-note-singing

In 16th-century England, singers discovered they could operate effectively with only four syllables (mi, fa, sol, and la). English colonists carried the four-syllable system to North America. Meanwhile, on the European continent, the hexachord was expanded to seven syllables, one for each note in the major scale (in Italy, do, re, mi, fa, sol, la, and si). The seven-syllable system ultimately prevailed during the 19th century in England and America. Shape notation has been adapted to both the four-note fasola and the seven-note doremi system.

 

Shape notes, also called character notes or patent notes, are one of many notational innovations that, like solmization syllables, attempted to make sight reading easier. (Others included the tonic sol-fa system of Sarah Anna Glover and John Curwen, popular primarily in Britain.) The four shaped notes—a right triangle for fa, an oval for sol, a rectangle for la, and a diamond for mi—were invented by Philadelphia shopkeeper John Connelly about 1790 and made their first appearance in The Easy Instructor (1801), by William Little and William Smith. Over 200 different shape-note tunebooks were printed in the United States between 1801 and 1861, most of them eclectic collections including strophic hymn tunes, odes, and anthems from a variety of American and European sources. Pennsylvania and the Ohio River valley were early centres of shape-note publication. Many shape-note books included “folk hymns” (tunes drawn from oral tradition, harmonized by the compilers or other local singing teachers, and underlaid with sacred texts).

 

The Sacred Harp (1844) in particular, supported by county and regional conventions in a number of Southern states, kept its four-shape fasola notation and a large corpus of New England psalmody, fuging tunes, spiritual songs, and revival choruses in several 20th-century editions

I'm a paragraph. Click here to add your own text

IAMBIC TETRAMETER

http://www.folkways.si.edu/shape-note-singing-lesson/music/tools-for-teaching/smithsonian

The "L.M." after the title "Chester" is a designation of the text's poetic structure. It stands for "long meter," stanzas of four lines in iambic tetrameter. An iamb is a set of two syllables with the accent on the second one. Each line of "Chester" has eight syllables and four iambs: da dum, da dum, da dum, da dum. The tune can accommodate any poem in this meter.

and edit me. It's easy.

FOUR MEMBERS

https://en.wikipedia.org/wiki/The_Highwaymen_(country_supergroup)

The Highwaymen was a country music supergroup composed of four of the genre's biggest artists well known for their pioneering influence on the outlaw country subgenre: Johnny Cash, Waylon Jennings, Willie Nelson, and Kris Kristofferson. Active as a group between 1985 and 1995, these four artists recorded three major label albums as The Highwaymen: two on Columbia Records and one for Liberty Records. Their Columbia works produced three chart singles, including the number one "Highwayman" in 1985.

 

Between the years of 1996 and 1999, Nelson, Kristofferson, Cash, and Jennings also provided the voice and dramatization for the Louis L'Amour Collection, a four CD box set of seven Louis L'Amour stories published by the HighBridge Company, although the four were not credited as "The Highwaymen" in this work.

 

Besides the four formal members of the group, only one other vocal recording artist ever appeared on a Highwaymen recording: Johnny Rodriguez, who provided Spanish vocal on "Deportee", a Woody Guthrie composition, from "Highwayman".

 

The four original members starred in a movie together: the 1986 film Stagecoach.

FOUR LETTERS

https://en.wikipedia.org/wiki/Y.M.C.A._(song)

The song remains popular and is played at many sporting events in the U.S. and Europe, with crowds using the dance in which the arms are used to spell out the four letters of the song's title as an opportunity to stretch. Moreover, the song also remains particularly popular due to its status as a disco classic. "Y.M.C.A." appeared as Space Shuttle Wakeup call on mission STS-106, on day 11.[2]

FOUR PARTS

http://www.mfiles.co.uk/scores/frere-jacques-round.htm

"Frere Jacques" is a traditional French nursery rhyme, and this is the Round version of the Song since it is frequently sung in this way. One child or group will start singing the melody, and then a second child or group will join in 2 bars later, and so on. If there are sufficent children or groups then four separate parts can continue to sing the round, each unit starting again at the beginning of the song after they have reached the end. The PDF sheet music, Midi and Mp3 files for this roundy can be downloaded using the links in the left-hand menu.

http://www.mfiles.co.uk/scores/frere-jacques-round.htm

Quadrant

https://en.wikipedia.org/wiki/We_Four_Girls_Are_Here_to_Stay!

We Four Girls Are Here to Stay! is a VHS released by B*Witched in 1999. It contained their Disney Channel In Concert performance as well as all four full music videos for the singles released from their debut album. The album name comes from the song "We Four Girls", which is included on their debut album, in which Edele scream-sings "We four girls are here to stay!"

THE TRANSCENDENT FOURTH FIGURE IN THE FIRE

https://en.wikipedia.org/wiki/Shadrach,_Meshach,_and_Abednego

1968: "The Fourth Man in the Fire", the Johnny Cash song appearing on the albums The Holy Land (1969) and Unearthed (2003)

carl orff fortuna

https://en.wikipedia.org/wiki/Carmina_Burana_(Orff)

 

Much of the compositional structure is based on the idea of the turning Fortuna Wheel. The drawing of the wheel found on the first page of the Burana Codex includes four phrases around the outside of the wheel:

 

"Regnabo, Regno, Regnavi, Sum sine regno". (I shall reign, I reign, I have reigned, I am without a realm).

Within each scene, and sometimes within a single movement, the wheel of fortune turns, joy turning to bitterness, and hope turning to grief. "O Fortuna", the first poem in the Schmeller edition, completes this circle, forming a compositional frame for the work through being both the opening and closing movements.

https://www.youtube.com/watch?v=GXFSK0ogeg4

 

carl orff fortuna FOUR NOTE MOTIF

FOUR NOTE MOTIF

http://juniorcertmusica.weebly.com/carmina-burana.html

Several languages are used throughout but the language in O fortuna is Latin.

Extreme and sudden changes in dynamics are a strong feature of this work. It is based on a 4 note motif (pattern of notes) which is repeated many times.

SAMPLED CARL ORFFS FOUR NOTE MOTIF AND FOUR PART WHEEL OF FORTUNE

P DIDDY NAS CRUCIFIED

https://www.youtube.com/watch?v=dKSJN3WWR3E

 

QUADRANT

FOUR NOTE MOTIF

http://www.nytimes.com/2012/02/07/arts/music/carmina-burana-choral-project-at-carnegie-hall.html

Gabriel Smallwood of Florence, S.C. — the youngest, at 14 — choose an English version of the Dies Irae (Day of Wrath) hymn for his text. He wanted to convey “how sudden the Last Judgment could happen,” he wrote in a program note. At the start the orchestra rumbles with subdued tension as the chorus intones the words. A descending four-note bass pattern keeps recurring like a “Dies irae” motif.

FOUR NOTE QUOTATIONS BRAHMS TCHAIKOVSKY STRAUSS ALL EMPLOY THE SAME FOUR NOTE DIES IRAE MOTIVE

http://www.victoryvinny.com/svr_and_di/RachmaninovandDiesIrae-Version04.pdf

fully realized quotation of Dies irae. This set the precedent for the four-note quotations that Rachmaninoff

 

reference and left them in his revision. The whirlwind which opens the piece starts with a brief four-note

 

introduce an agitated sequence of four notes calling out the Dies irae melody (all notes played with

 

una corda bass line), is an elaboration on the four-note Dies irae motif:

 

prankster of Austrain myth, one of the many expressive motifs used is a four-note blurt of the Dies irae.

 

This ballet music from Glazunov presents four scenes from the stereotypical Middle Ages. The

 

characterize much of his later works. The four-note motif takes center stage as a main theme yet is

 

four-note references (with a wider interval of a fourth, indicating its genesis was separate from the theme

 

already discussed) are stressed in the middle voices. These four-note ideas and the movement’s main

 

that Dies irae does not play a primary role in this symphony. The four-note motif is never far, however. A

it is a tetrachord

https://en.m.wikipedia.org/wiki/Ptolemy%27s_intense_diatonic_scale

It is produced through a tetrachord consisting of a greater tone (9/8), lesser tone (10/9), and just diatonic semitone (16/15).[6] This is called Ptolemy's intense diatonic tetrachord, as opposed to Ptolemy's soft diatonic tetrachord, formed by 21/20, 10/9 and 8/7 intervals.[8

tetra is four use of four tetrachords
https://en.m.wikipedia.org/wiki/Musica_enchiriadis
The notation used in Musica enchiriadis. The scale comprises four tetrachords. The symbols indicating the notes are rotated and mirrored depending on the tetrachords. A modern transcription of the notes is below.
The scale used in the work, which is based on a system of tetrachords, appears to have been created solely for use in the work itself, rather than taken from actual musical practice.[1] The treatise also uses a very rare system of notation, known as Daseian notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.

the four finales
https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos
Λιχανὸς ὑπάτων [D] is [the φθόγγος of] the autentus protus and its plagal which are [tonus] I and II, ὑπάτη μέσων [E] of the autentus deuterus and its plagal which are [tonus] III and IV, παρυπάτῃ μέσων [F] of the autentus tritus and its plagal which are [tonus] V and VI, λιχανὸς μέσων [G] of the autentus tetrardus and its plagal which are [tonus] VII and VIII, for the reason, that these four very present ones surround necessarily each melody, so that they, however they might be, can be reduced to them. These four [φθόγγοι] are called 'finales', since in all those [melodies] which are sung, they are perceived as their end.

tetraphonic system four dasia four finales four elements tetra is four

https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos

The first attempt to connect Ancient Greek music theory (as expressed in Boethius) and the theory of plainchant can be found in the treatise De harmonica institutione by Hucbald of Saint-Amand Abbey, written by the end of the 9th century, in which the author addressed his treatise explicitly to cantors and not to mathematicians,[21] whereas the reduction of 4 "finales" which made up the tetrachord D—E—F—G, was already done in Carolingian times in the treatises Musica and Scolica enchiriadis. Musica enchiriadis is also the only Latin treatise which testifies to the presence of a tetraphonic tone system, represented by 4 Dasia-signs and therefore called "Dasia system", and even the practical use of transposition (metabolē kata tonon) in plainchant, called "absonia"

the four finales the four elements tetrachord
https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos

Hucbald used an idiosyncratic Greek letter system which referred to the double octave system (systēma teleion) and called the four elements known as "finales" according to the Greek system:[22]

Phthongoi and tone symbols of the finales

the four finales the four elements tetrachord
https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos

Hucbald used an idiosyncratic Greek letter system which referred to the double octave system (systēma teleion) and called the four elements known as "finales" according to the Greek system:[22]

Phthongoi and tone symbols of the finales

talks about the 16 echoi- 16 squares quadrant model says four by fourand ultimately 24 adding two more fours- talks about tetrachords and the four colors and four humours

relates four ways of music to the four elements

https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos
The author of the Hagiopolites mentioned an alternative system of 16 echoi "sung in the Asma," with 4 phthorai and 4 mesoi beyond the kyrioi and plagioi of the diatonic Octoechos:

The 4 Echoi which come first are generated from themselves, not from others. As to the four which come next, i.e. the Plagal ones, Plagios Prōtos is derived from Prōtos, and Plagios Deuteros from Deuteros – normally Deuteros melodies end in Plagios Deuteros. Similarly, Barys from Tritos – "for in the Asma Hypobole of Barys is sung as Tritos together with its ending". From the 4 Plagioi originate the 4 Mesoi, and from these the 4 Phthorai. This makes up the 16 Echoi which are sung in the Asma – as already mentioned, there are sung only 10 in the Hagiopolites.[16]

As there are 4 basic elements/targets [earth, water, air, and fire] which created their music, the πρῶτος, the δεύτερος, the τρίτος, and the τέταρτος, and by their formulas the same generate 24 different elements: the [4] κέντροι (central), [4] ἶσοι (basic), and [4] πλάγιοι (plagal), the [4] καθαροί (kathartic), [4] ἄηχοι (aphonic), and [4] παράηχοι (paraphonic). Hence, it is impossible to create something outside those infinite melodies of hymns, treatments, revelations, and of other parts of the Holy Wisdom, which is free from the irregularities and corruptions of other musical emotions (πάθη).

In the edition of the treatise by Otto Gombosi, the four "elements" (α', β', γ', δ') were associated with certain colours—πρῶτος with black (all colours together), δεύτερος with white (no colour at all), τρίτος with yellow (an elementary coulour), and τέταρτος with purple (a combination of elementary colours). These passages could be easily compiled with Zosimos of Panopolis' treatise about the process of bleaching.

The system favoured 3 four tetrachord sets (either modes by themselves or simply degree of the modes with different functions), called κέντροι, ἷσοι, and πλάγιοι. Kέντρος would be probably an early name for μέσος, if it lied between the ἶσος and πλάγιος, it could be as well used as an early name for κύριος ἦχος, because it is mentioned here first, while ἶσος could mean "equivalent", or just basis notes.

In comparison, the Hagiopolitan terminology already included the "corruption" (φθορά) as an acceptable modal category in itself, which was neither excluded in the Hagiopolitan Octoechos nor in the modal system of a certain cathedral rite, which was made of 16 echoi. On the other hand, the described system, whether it meant 24 echoi including 12 pathologic echoi, called "aechoi" and "paraechoi", and associated with 4 "katharoi" or just cadential degrees or other modal functions. It is not clear, whether the latter name was simply meant in a geographical or ethnical way or whether it was here connected with a kind of music therapy which included certain pathe as a kind of antidote. Medical treatises of the Mediterranean had been developed later on by the association of melodic modes with 4 elements and 4 humours.[19]

Latin reception

four kyrioi
https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos

According to the Hagiopolites the eight echoi ("modes") were divided in four "kyrioi" (authentic) echoi and their four respective plagioi (enriched, developed) echoi, which were all in the diatonic genus.

four string
https://en.m.wikipedia.org/wiki/Hagiopolitan_Octoechos
Al-Kindi demonstrated the intervals on the keyboard of a simple four-stringed oud, starting from the third string as well seven steps in ascending as in descending direction.

four musical ways related to four elements

http://gregorian-chant.ning.com/m/group/discussion?id=3327296%3ATopic%3A69447

As there are 4 basic elements, there are also four musical ways, the πρῶτος, the δεύτερος, the τρίτος, and the τέταρτος, and by their formulas the same generate 24 different elements: the [4] κέντροι (central), [4] ἶσοι (basic), and [4] πλάγιοι (plagal), the [4] καθαροί (kathartic), [4] ἄηχοι (aphonic), and [4 παράηχοι (paraphonic)]. Hence, it is impossible to create something outside those infinite melodies of hymns, treatments, revelations, and of other parts of the Holy Wisdom, which is free from the irregularities and spoilages of other musical passions (πάθη).

tetra is four
http://www.tonalsoft.com/enc/t/tetraphonic-cycle.aspx
tetraphonic cycle

[Joe Monzo, adapted from John Chalmers, Divisions of the Tetrachord]
A musical structure invented by Ervin Wilson combining both the segmental identity of tetrachordal based scales with the subharmonic series typical of Schlesinger's Harmoniai.

Tetraphonic cycles have four regions of segmental identity or near identity

. . . . . . . . .
The tonalsoft.com website is almost entirely the work of one person: me, Joe Monzo. Please reward me for my knowledge and effort by choosing your preferred level of financial support. Thank you.

support level

PayPal - The safer, easier way to pay online!  
Copyright © 2005 Tonalsoft Inc. All rights reserved. Terms of Use ¦ Contact us ¦ Back to Top ¦ Home

tetraphonic tetra four
https://en.m.wikipedia.org/wiki/Tonary
11th-century theorists like Guido of Arezzo (Regulae rhythmicae) or Hermann of Reichenau (Musica) refused the Dasia tone system, because it displayed tetraphonic tone system and not the systema teleion (corresponding to the white keys of the keyboard) which had all the pitches needed for the "melos of the echoi" (ex sonorum copulatione in "Musica enchiriadis", emmelis sonorum in the compilation "alia musica").[

four pairs
https://en.m.wikipedia.org/wiki/Tonary
Since the Carolingian reform the ordering according to the Octoechos assisted the memorization of chant. The exact order was related to the elements of the "tetrachord of the finales" (D—E—F—G) which were called "Protus, Deuterus, Tritus", and "Tetrardus".

four modes each subdivided into two
http://www.beaufort.demon.co.uk/modes.htm
There are various terminologies associated with this "eight-mode system". The easiest and most obvious is that employed in the modern official chant books of the catholic church , in which the modes are simply numbered 1-8 in Roman numerals. However, other nomenclature, based upon different mediæval theorists, is also frequently encountered. One of these, familiar to Hucbald (c. 840-930), to the ninth-century authors of the treatises Musica Enchiriadis and Scolica Enchiriadis , to Aurelian of Réôme (fl. 840-50) and to the author of the ninth-tenth century Commemoratio Brevis de Tonis et Psalmis Modulandis , is first found in a late eighth-early ninth century tonary from S. Riquier (Paris, Bibliothèque Nationale, lat. 13159), which lists four modes: "protus", "deuterus", "tritus" and "tetrardus" (respectively, the Greek words for first, second, third and fourth), and subdivides each of the four into two, the first of each pair being designated "authentus" ("authentic") and the second "plagis" ("plagal"):

Protus authentus
Protus plagis
Deuterus authentus
Deuterus plagis
Tritus authentus
Tritus plagis
Tetrardus authentus
Tetrardus plagis

four melodies four primary modes tetratdus

https://books.google.com/books…
quadrant

THREE V FOUR VALVES THE DYNAMIC BETWEEN THREE AND FOUR

 

https://en.wikipedia.org/wiki/Sousaphone

Very large bore (>= 0.750 inch) sousaphones, with oversized bells as large as 32 inches (81 cm) in diameter, were made by Conn ("Grand Jumbo" [46K (3-valve) & 48K (4-valve)]) and King ("Jumbo" [1265 (3- & 4-valve versions)] & "Giant" [1270 (3-valve) & 1271 (4-valve)]) in the mid-1920s and 1930s, and by Martin, York, & Buescher, but they disappeared from the catalogs during the Depression or at the onset of World War II. Because of their weight and cost, few were made and even fewer survive, especially the 4-valve models.

MAKING QUADRANTS

https://en.wikipedia.org/wiki/Fightin%27_Texas_Aggie_Band

The Criss Cross: the band files split into two halves and march through each other at 90° angles

The Four-way Cross: The band splits into four groups of three files and march through each other from each of the corners of the field (this maneuver is one of the more popular among fans, due to its difficulty)

4-beat (also known as hardcore or happy hardcore) is a breakbeat style of music that emerged around 1993. It evolved from breakbeat hardcore emanating from the United Kingdom rave scene. Due to the sheer scale of the United Kingdom rave scene, the popularity of this particular music was largely limited to England where it was almost exclusively produced and played.

https://en.wikipedia.org/wiki/4-beat

Typical characteristics of 4-beat are for compositions to be around a tempo of 150 to 170 BPM (beats per minute). At the core of these compositions would be a fast looped, sometimes complex rolling sampled breakbeat, along with a combined bass drum every four beats to the bar - hence the name of 4-beat.

 

While ambiguous as a term, 4-beat only indicated that this style - unlike jungle music and its earlier breakbeat hardcore predecessor - used a common if somewhat insignificant four beats to the bar bass drum complementing the obligatory breakbeats. 4-beat does not mean it was void of breakbeats - a common error assumed by most.

 

Several record labels including Impact, Techstep Records (London) and United Dance Recordings, displayed the 4-beat logo on their artwork alongside the "recognised form of 4-beat" slogan. This logo may also have been used on records to easily distinguish this and jungle music in record shops.

16 BARS 16 SQUARES QMR

https://en.wikipedia.org/wiki/Twelve-bar_blues

"W.C. Handy, 'the Father of the Blues', codified this blues form to help musicians communicate chord changes."[4][clarification needed] Many variations are possible. The length of sections may be varied to create eight-bar blues or sixteen-bar blues.

 

In the original form, the dominant chord continued through the tenth bar; later on the V–IV–I–I "shuffle blues" pattern became standard in the third set of four bars:[5]

 

I I I I

IV IV I I

V IV I I

About this sound Play (help·info)

The common quick to four or quick-change (quick four[6]) variation uses the subdominant chord in the second bar:

https://en.wikipedia.org/wiki/Four80East

Four80East is a Canadian electro jazz ensemble from Toronto with Rob DeBoer (keyboards, bass and guitar) and Tony Grace (percussion); accompanied by various session musicians. Although Four80East began as a studio concept, they have evolved into a live act. Their music is melodic with strong bass rhythms.

16 Preset patterns
https://en.wikipedia.org/wiki/Drum_machine
Ace Tone commercialized its preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). The FR-1 was adopted by the Hammond Organ Company for incorporation within their latest organ models. In the US, the units were also marketed under the Multivox brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley Rhythm Ace brand.[10]

SIXTEEN VOICES

https://en.wikipedia.org/wiki/Sampler_(musical_instrument)

The Akai S1000 (1988) was possibly the most popular 16-bit 44.1 kHz stereo sampler of its time. It featured 16-voices, up to 32 MB of memory, and 24-bit internal processing, including a digital filter (18 dB/octave), an LFO, and two ADSR envelope generators (for amplitude and filtering). The S1000 also offered up to 8 different loop points. Additional functions included Autolooping, Crossfade Looping, Loop in Release (which cycles through the loop as the sound decays), Loop Until Release (which cycles through the loop until the note begins its decay), Reverse and Time Stretch (version 1.3 and higher).

FOUR SOUND CHANNELS

https://en.wikipedia.org/wiki/Amiga

The sound chip, named Paula, supports four PCM-sample-based sound channels (two for the left speaker and two for the right) with 8-bit resolution for each channel and a 6-bit volume control per channel. The analog output is connected to a low-pass filter, which filters out high-frequency aliases when the Amiga is using a lower sampling rate (see Nyquist frequency). The brightness of the Amiga's power LED is used to indicate the status of the Amiga's low-pass filter. The filter is active when the LED is at normal brightness, and deactivated when dimmed (or off on older A500 Amigas). On Amiga 1000 (and first Amiga 500 and Amiga 2000 model), the power LED had no relation to the filter's status, and a wire needed to be manually soldered between pins on the sound chip to disable the filter. Paula can read directly from the system's RAM, using direct memory access (DMA), making sound playback without CPU intervention possible.

 

Although the hardware is limited to four separate sound channels, software such as OctaMED uses software mixing to allow eight or more virtual channels, and it was possible for software to mix two hardware channels to achieve a single 14-bit resolution channel by playing with the volumes of the channels in such a way that one of the source channels contributes the most significant bits and the other the least.

A modern example originating in Communist Hungary demonstrates the congregational character of St John Passion. In the early 1950s musicians were allowed to play church music only in the frame of liturgy. However, the St John Passion is an almost complete Lutheran liturgy, focused on the Evangelium. Hence, by inserting four missing features, the whole Passion could be performed as if it were part of the liturgy.

https://en.wikipedia.org/wiki/St_John_Passion

(1) Each year the concert begins with "In the name of the Father, the Son and the Holy Spirit.", announced by the priest; this is the start of a Lutheran liturgy.

(2) Between the first and second part of the Passion, the priest gives a very short sermon, intended to be understood even by non-believers.

(3) The congregation prays the Pater noster together, after Jesus' death "Und neiget das Haupt und verschied." and before the aria-chorale "Mein teurer Heiland, lass dich fragen" .

(4) At the end, the Aaron blessing is given by the priest: "The LORD bless you, and keep you; the LORD make His face shine on you, and be gracious to you; the LORD lift up His countenance on you, and give you peace." (Numbers 6:24–26).

FOUR SUBJECT THEORY- TRANSCENDENT FOURTH

https://en.wikipedia.org/wiki/The_Art_of_Fugue

Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's obituary actually makes mention of "a draft for a fugue that was to contain four themes in four voices". The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called "fragment X", on which the composer attempted to work out the counterpoint between the four subjects.[citation needed] The 2016 completion by pianist Kimiko Douglass-Ishizaka rejects the fourth subject theory, opting instead to develop the extant materials in the fugue to completion.[10]

QUADRUPLE FUGUE THEORY

https://en.wikipedia.org/wiki/The_Art_of_Fugue

18. Fuga a 3 Soggetti (Contrapunctus XIV): 4-voice triple fugue (not completed, but likely to have become a quadruple fugue: see below), the third subject of which is based on the BACH motif, B♭ – A – C – B♮ ('H' in German letter notation). About this sound play motif (help·info).

BACH MOTIF IS CROSS

https://en.wikipedia.org/wiki/Canonic_Variations_on_%22Vom_Himmel_hoch_da_komm%27_ich_her%22

The exuberant Canon with Inversions, which appears last in the engraved version, builds up to a cumulative climax, but originally did not contain the passing reference to the BACH motif in its closing bars. In the autograph manuscript, it becomes the central variation, comparable to the role played by the central large-scale sixteenth Goldberg variation. The calmer Augmentation Canon, on the other hand, similar to the thirteenth Goldberg variation, has a clear reference to the BACH motif in its 39th bar, its anguished harmonies resolved peacefully by the final pedal point. Because of continual reworkings, it is now believed that Bach never intended there to be a final fixed version. Commentators have pointed out that although the order of the variations in the autograph version gives it a certain aesthetic symmetry, the order in the engraved version might be more appropriate for performance.[8]

MOZART USED HIS FIRST FOUR NOTES

https://en.wikipedia.org/wiki/Missa_Pange_lingua#Influence

Building on Josquin's fugal treatment of the Pange Lingua hymn's third line in the Kyrie of the Missa Pange Lingua, the "Do-Re-Fa-Mi-Re-Do"-theme became one of the most famous in music history. Simon Lohet,[11] Michelangelo Rossi,[12] François Roberday,[13] Johann Caspar Ferdinand Fischer,[14] Johann Jakob Froberger,[15][16] Johann Caspar Kerll,[17] Johann Sebastian Bach,[18] and Johann Fux wrote fugues on it, and the latter's extensive elaborations in the Gradus ad Parnassum[19] made it known to every aspiring composer—among them Wolfgang Amadeus Mozart, who used its first four notes as the fugal subject for the last movement of his Symphony #41, the Jupiter Symphony.[20]

THE FOUR NOTE MOTIF IN THE CAN CAN BRAHMS AND BEETHOVEN OFFENBACH

https://curmudgeonone.wordpress.com/2015/08/01/mozart-josquin-des-prez-and-the-can-can/

Musicologists more obsessive-compulsive than me have traced the same four-note theme in works by Josef Haydn’s younger brother Michael as well, and Mozart, even at the tender age of 8, was undoubtedly well aware of what the Haydn brothers were up to.

 

I would argue that the four-note Haydn/Mozart “Jupiter” motive is not a truncation of the older plainsong chant, but an independent entity: the rhythmic profiles are different, and seem in both cases to be intrinsic to the motive.

 

Finally, it may be amusing (for those who are amused by such things) to indicate four familiar compositions by later composers which seem to use the same motives. In every case the quotation is undoubtedly coincidental!

 

Exhibit A: Beethoven, string quartet Opus 127, 3rd movement: Beeth.127

In this recording, listen at 23’53”.

 

Exhibit B: Bizet, Carmen, Intermezzo:

Bizet

 

Exhibit C: Brahms, Horn (+ violin + piano) Trio, 2nd movement, scherzo.

Here it is in Brahms’s manuscript:

 

Screen shot 2015-07-28 at 11.11.29 PM

and, for clarity,

Brahms Horn

 

Exhibit D: Offenbach, Can-Can (from Orpheus in the Underworld): listen at o’45” in this recording.

Screen shot 2015-07-28 at 11.25.26 PM

 

As good a place as any to stop!

 

How did we ever manage in those times, almost unimaginable now, before the internet gave us immediate access to Mozart and Brahms autograph scores, and just about everything else, at the touch of a button?!

A quadruple reed is a type of reed by means of which the sound is originated in various wind instruments. The term "quadruple reed" comes from the fact that there are four pieces of dried palm leaf vibrating against each other, in pairs. A quadruple reed, such as the Thai pinai, operates in a similar way as the double reed and produces a timbre similar to the oboe.[1] The Arabic pii chawaa is, "sometimes described as having a double reed though this is actually folded yet again, creating four layers of reed and thus requiring considerable lung power to play".[2]

https://en.wikipedia.org/wiki/Sralai

Instruments which use quadruple reeds[edit]

Pi (Thailand)[3][4][5]

Pui' Pui' (Makassar, Indonesia)

Serunai (Malaysia)[6][7]

Shehnai (India)

Sralai (Cambodia)[8][9]

Sri Lankan oboe[10]

Serune Kalee (Aceh, Indonesia)

https://en.wikipedia.org/wiki/Quadruple_reed

 

Pi (Thai: ปี่, pronounced [pìː]) is the generic term for any of a variety of quadruple reed oboes used in the traditional music of Thailand, piphat. It is very similar in construction and playing technique to the Cambodian sralai.

 

https://en.wikipedia.org/wiki/Pi_(instrument)

 

This tubular instrument gradually broadens towards the lower end. It usually has between six and nine holes. It employs one set of quadruple reeds, making it a quadruple reed woodwind. By controlling the breath, various tunes can be played on it.

 

https://en.wikipedia.org/wiki/Shehnai

The sralai (Khmer: ស្រឡៃ) is a wind instrument used in the pinpeat of Cambodia. Its quadruple reed is made of palm leaf, and its body has a slightly conical bore. Its cousin, the Western oboe, has a double reed and a conical bore. The pinpeat instruments tune to the sralai's pitch, and the player must learn circular breathing to play continuously without stopping for breath. The sralai is very similar in construction and playing technique to the Thai pi.

Three four

https://en.wikipedia.org/wiki/Substitute_(The_Who_song)

We'd like to play three hit singles from our past for ya. Three selected hit singles, the three easiest. There's "Substitute", which we like. [crowd cheers] Thank You. That was our first number four [crowd laughs]...[10]

On The Who's 1979 tour, only four songs were played live: "Sister Disco", "Music Must Change", "Trick of the Light", and "Who Are You". On that tour, "Sister Disco" was played quite close to the studio version, except that the guitar outro was changed from country-style to a more bluesy one, except in 1989, where Townshend used acoustics, and 2008–09, where he could switch his Fender from 'electric mode' to 'acoustic mode'. Townshend actually stated in an interview that this was one of his least favourite songs to perform live (the other being "Dreaming from the Waist"), as Daltrey encouraged Townshend to share a microphone whilst harmonizing on the final vocal tag, evoking a camaraderie Townshend stated didn't really exist.[16] It was played in the tours of 197919801981198219892008 and 2009. https://en.wikipedia.org/wiki/Who_Are_You

FOURTH MEMBER LED ZEPLIN DIFFERENT BONHAM FOUR QUADRUPLE VODKAS- FOUR WAVES OF ALBUMS

https://en.wikipedia.org/wiki/Led_Zeppelin

https://en.wikipedia.org/wiki/File:Zoso.svg

The Yardbirds played their final gig in July 1968 at Luton College of Technology in Bedfordshire.[5] They were still committed to several concerts in Scandinavia, so drummer Jim McCarty and vocalist Keith Relf authorised Page and bassist Chris Dreja to use "the Yardbirds" name to fulfill the band's obligations. Page and Dreja began putting a new line-up together. Page's first choice for the lead singer was Terry Reid, but Reid declined the offer and suggested Robert Plant, a singer for the Band of Joy and Hobbstweedle.[6] Plant eventually accepted the position, recommending former Band of Joy drummer John Bonham.[7] Jones inquired about the vacant position at the suggestion of his wife after Dreja dropped out of the project to become a photographer.[8][nb 1] Page had known Jones since they were both session musicians and agreed to let him join as the final member.[10]

 

A black and white photograph of an airship near a mooring mast exploding at its stern.

A 1937 photograph of the burning LZ 129 Hindenburg taken by news photographer Sam Shere, used on the cover of the band's debut album and extensively on later merchandise

The four played together for the first time in a room below a record store on Gerrard Street in London.[11] Page suggested that they attempt "Train Kept A-Rollin'", originally a jump blues song popularised in a rockabilly version by Johnny Burnette, which had been covered by the Yardbirds. "As soon as I heard John Bonham play", Jones recalled, "I knew this was going to be great ... We locked together as a team immediately".[12] Before leaving for Scandinavia, the group took part in a recording session for the P. J. Proby album, Three Week Hero. The album's track "Jim's Blues", with Plant on harmonica, was the first studio track to feature all four future members of Led Zeppelin.[13]

 

The four symbols on the label and inside sleeve of Led Zeppelin IV, representing (from left to right) Page, Jones, Bonham, and Plant

 

Led Zeppelin released their fourth album on 8 November 1971. In response to the treatment they had received from critics, particularly after Led Zeppelin III, the band decided to release the fourth album with no title, though it is variously referred to as Led Zeppelin IV, Untitled, IV, or, due to the four symbols appearing on the record label, as Four Symbols, Zoso or Runes

 

Bonham asked to stop for breakfast, where he downed four quadruple vodkas (between 16 and 24 oz.), with a ham roll. After taking a bite of the ham roll he said to his assistant, "breakfast". He continued to drink heavily after arriving at the studio. The rehearsals were halted late that evening and the band retired to Page's house—the Old Mill House in Clewer, Windsor. After midnight, Bonham, who had fallen asleep, was taken to bed and placed on his side

 

A film of the O2 performance, Celebration Day, premiered on 17 October 2012 and was released on home video on 19 November.[113] The film grossed $2 million in one night, and the live album peaked at number 4 and 9 in the UK and US, respectively.[114][115][23] Following the film's premiere, Page revealed that he had been remastering the band's discography.[116] The first wave of albums, Led Zeppelin, Led Zeppelin II, and Led Zeppelin III, were released on 2 June 2014.[117] The second wave of albums, Led Zeppelin IV and Houses of the Holy, were released on 27 October 2014.[118] Physical Graffiti was released on 23 February 2015, almost exactly forty years to the day after the original release.[119] The fourth and final wave of albums, Presence, In Through the Out Door, and Coda, were released on 31 July 2015.[120]

FOUR SYMBOLS LED ZEPPELIN

https://en.wikipedia.org/wiki/Led_Zeppelin_IV

After the band's previous album Led Zeppelin III received lukewarm reviews from critics, Page decided their fourth album would officially be untitled. This, along with the inner sleeve's design featuring four symbols that represented each band member, led to the album being referred to variously as the Four Symbols logo, Four Symbols, The Fourth Album, Untitled, Runes, The Hermit, and ZoSo (which was derived from Page's symbol).

 

After the lukewarm, if not confused and sometimes dismissive, critical reaction Led Zeppelin III had received in late 1970, Page decided that the next Led Zeppelin album would not have a title, but would instead feature four hand-drawn symbols on the inner sleeve and record label, each one chosen by the band member it represents.[8] "We decided that on the fourth album, we would deliberately play down the group name, and there wouldn't be any information whatsoever on the outer jacket", Page explained. "Names, titles and things like that do not mean a thing."[10]

 

The four symbols representing (from left to right);

at the top; Page, Jones

at the bottom; Bonham and Plant

 

Page stated that he designed his own symbol[8][9] and has never publicly disclosed any reasoning behind it. It has been argued that his symbol appeared as early as 1557 to represent Saturn.[16][17][18] The symbol is sometimes referred to as "ZoSo", though Page has explained that it was not in fact intended to be a word at all.[8] Page was known to be a devotee of Aleister Crowley and his sign resembles a magical sigil. The first three parts of the sigil or symbol also resemble the word "Zos" as found in the magical philosophy of Crowley's associate Austin Osman Spare known as 'Zos vel Thanatos'.

 

Bassist John Paul Jones' symbol, which he chose from Rudolf Koch's Book of Signs,[8] is a single circle intersecting three vesica pisces (a triquetra). It is intended to symbolise a person who possesses both confidence and competence.[9]

 

Drummer John Bonham's symbol, the three interlocking (Borromean) rings, was picked by the drummer from the same book.[8] It represents the triad of mother, father and child,[9][19] but, inverted, it also happens to be the logo for Ballantine beer.[9]

 

Singer Robert Plant's symbol of a feather within a circle was his own design, being based on the sign of the supposed Mu civilisation.[8][9]

 

 

Sandy Denny's symbol of three downward-pointing equilateral triangles.

A fifth, smaller symbol chosen by guest vocalist Sandy Denny represents her contribution to "The Battle of Evermore"; the figure, composed of three equilateral triangles, appears on the inner sleeve of the LP, serving as an asterisk.

 

During Led Zeppelin's tour of the United Kingdom in winter 1971, which took place shortly following the release of the album, the band visually projected the four symbols on their stage equipment. Page's symbol was put onto one of his Marshall amplifiers, Bonham's three interlinked circles adorned the outer skin of his bass drum, Jones had his symbol stencilled onto material which was draped across his Fender Rhodes keyboard, and Plant's feather symbol was painted onto a side speaker PA cabinet. Only Page's and Bonham's symbols were retained for subsequent Led Zeppelin concert tours.[20]

ABBA WHEN FOUR BECAME ONE

http://www.carlmagnuspalm.com/abba/more-abba/abba-when-four-became-one

ABBA - When Four Became One

PUBLISHED NOVEMBER 30, 2012

 

ABOUT THE DOCUMENTARY

 

We all know the ABBA story, but what did Agnetha, Björn, Benny and Frida do before they became ABBA? When the group won the Eurovision Song Contest with Waterloo, it was not a case of overnight success – the members already had a decade behind them as artists: as struggling solo performers and dance band singers, and as members of some of the biggest band of the Sixties. This compelling film traces the lives of the four ABBA members and their journey towards stardom, step by step, chapter by chapter, showing the organic evolution of one of the truly legendary pop acts.

EMINEM FUCK TOP FIVE IM TOP FOUR

https://genius.com/Eminem-evil-twin-lyrics

Fuck top five, bitch, I'm top four

And that includes Biggie and Pac, whore

And I got an Evil Twin

So who the fuck do you think that third and that fourth spot's for?

MORRISON CRUCIFIXION POSE

http://ultimateclassicrock.com/led-zeppelin-doors-concert/

Unsurprisingly, the kids in the audience did as they were told, resulting in a set that may have been sickly fascinating from a non-musical point of view, but ended in shambles, with Morrison reportedly striking a crucifixion pose for three solid minutes after the rest of the Doors had cleared the stage. As far as Zeppelin singer Robert Plant was concerned, it made for an appalling spectacle.

 

 

Read More: That Time Led Zeppelin Cleaned Up Jim Morrison's Mess After a Disastrous Concert | http://ultimateclassicrock.com/led-zeppelin-doors-concert/?trackback=tsmclip

https://www.youtube.com/watch?v=2dMjVvfEWJE

 

SLIM JESUS LIL MOUSE DIS "NAIL EM TO THE CROSS"

FOUR NOTE MOTTOS

https://www.naxos.com/catalogue/item.asp?item_code=8.558028-29

Surprise variant provides springboard into new descending four - note pattern 00:00:19

31. Unexpected, ' flowing ' entrance of soloist 00:00:36

32. The use of ' sequence ' in first extended solo 00:01:21

33. Vivaldi prepares expectation... 00:00:19

34. ... and frustrates it by bringing in a new theme, using his four - note ' motto ' 00:01:07

35. Violins accompanied by flowing ' commentary ' in lower strings 00:00:34

36. Soloist returns with new variant 00:00:36

37. Pace slows as violins trace another four - note scalewise descent 00:00:24

38. The peasants return with the main theme, which turns unexpectedly downward 00:00:47

39. Intensification as harmonies change under broad, descending four - note ' motto ' 00:00:37

40. Mini - earthquake transformed into harmonic landslide 00:00:46

JUSTIN BIEBER CRUCIFIXION POSE LIKE MICHAEL JACKSON

http://www.dailymail.co.uk/tvshowbiz/article-2160356/Justin-Bieber-apes-Michael-Jackson-grabbing-crotch-stage-Canada.html

He seemed to be intent on channelling the Bad star for his showpiece performance in his homeland, even copying his trademark crucifixion pose from his Earth song period.

 

 

Read more: http://www.dailymail.co.uk/tvshowbiz/article-2160356/Justin-Bieber-apes-Michael-Jackson-grabbing-crotch-stage-Canada.html#ixzz4pbhRgR6m

Follow us: @MailOnline on Twitter | DailyMail on Facebook

An unhealthy cruci-fixation: He even copied the Prince of Pop's Earth Song Jesus Christ pose

 

 

Read more: http://www.dailymail.co.uk/tvshowbiz/article-2160356/Justin-Bieber-apes-Michael-Jackson-grabbing-crotch-stage-Canada.html#ixzz4pbhik4UQ

Follow us: @MailOnline on Twitter | DailyMail on Facebook

GORILLAZ FOUR MEMBERS FOUR PHASES

https://en.wikipedia.org/wiki/Gorillaz

History

1.1 Formation and early years (1997–99)

1.2 Phase One: Celebrity Take Down (2000–03)

1.3 Phase Two: Slowboat to Hades (2004–07)

1.4 Phase Three: Escape to Plastic Beach (2007–13)

1.5 Phase Four: We Are Still Humanz (2014–present)

FOUR SINGERS FOUR ANTHEMS

https://en.wikipedia.org/wiki/Zadok_the_Priest

Sang by four singers..Part of the traditional content of British coronations, the texts for all four anthems were picked by Handel—a personal selection from the most accessible account of an earlier coronation, that of James II in 1685.[4] The text is a translation of the traditional antiphon, Unxerunt Salomonem,[5] itself derived from the biblical account of the anointing of Solomon. These words have been used in every English, and later British, coronation since that of King Edgar at Bath Abbey in 973.[6] An earlier setting had been written by Henry Lawes for the coronation of King Charles II.[7]

https://en.wikipedia.org/wiki/Four_on_the_floor_(music)

Four-on-the-floor (or four-to-the-floor) is a rhythm pattern used in disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the bass drum is hit on every beat (1, 2, 3, 4) in common time.[1] This was popularized in the disco music of the 1970s[2] and the term four-on-the-floor was widely used in that era: it originated[citation needed] with the pedal-operated, drum-kit bass drum. Earl Young is seen as the inventor of the disco style of rock drumming (in Harold Melvin & The Blue Notes's "The Love I Lost" from 1973), as he was the first to make extensive and distinctive use of the hi-hat cymbal throughout the playing time of an R & B recording.[3]

THE ICHING IS A DOUBLE TETRAHEDRON MERKABA

https://en.wikipedia.org/wiki/John_Cage

A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching

https://en.wikipedia.org/wiki/Number_Pieces

There are 53 time brackets, each with a single sound produced on one, two, three or four strings. This Number Piece is microtonal. It may be performed with 108.

Only flexible time brackets are used. The violin part is microtonal and consists for the most part of long sounds. It is divided into three movements. The piano/shō part contains mostly short sounds and is in four movements.

The four performers have 22, 16, 10 and 15 time brackets respectively. Instruments are chosen by the performers; the time brackets only contain numerals to refer to different instruments.

Similar in structure to a symphony, the work is in four movements (A, B, C, D) with silence occurring at the start, between each movement, and at the end. The percussion instruments are "distinguished from one another but not named" and should be "very resonant." The piece may also be performed as a cello concerto with One8 (109a), as a shō concerto with any three movements of One9 (109b), and as a double concerto for shō and five conch shells with any three movements of Two3 (110).

FOUR PIECES

https://en.wikipedia.org/wiki/Etudes_Boreales

The set comprises four pieces. The cello parts are technically similar to Freeman Etudes: they are extremely demanding pieces composed using chance operations, every aspect of the work meticulously detailed in the score. The difference between the works is that in Etudes Boreales the pitch range is limited at any given time, and changes throughout the pieces, whereas in Freeman Etudes the range was unlimited. An excerpt from one of the etudes shows that the technique required involves the ability to jump accurately to any point on the fingerboard or beyond, which is particularly difficult in these pieces as they are to be played without vibrato (Stowell, 221):

THE FOURMOST

https://en.wikipedia.org/wiki/The_Fourmost

The Fourmost were an English Merseybeat band that recorded in the 1960s. Their biggest UK hit single was "A Little Loving" in 1964.

 

Contents [hide]

1 Biography

2 Deaths of band members

3 Original band members

4 Discography

4.1 Singles

5 See also

6 References

7 External links

Biography[edit]

Guitarist/vocalist Brian O'Hara and best friend guitarist/vocalist Joey Bower (born Joseph Bower, 17 November 1939, Dingle, Liverpool, Lancashire) formed the Two Jays in 1957. The group changed its name to the Four Jays in September 1959 when bass guitarist/singer Billy Hatton and drummer Brian Redman (born 21 June 1941, Huyton, Liverpool, Lancashire) joined the group. The Four Jays played at the Cavern Club on 1 March 1961, nearly three weeks before the Beatles. Rhythm guitarist/singer Mike Millward (ex-the Undertakers) joined the Four Jays in November 1961, followed by drummer/singer Dave Lovelady in September 1962. The band changed its name to the Fourmost in October 1962. On 30 June 1963, the group signed a management contract with Brian Epstein.[1] This led to their being auditioned by George Martin and signed to EMI's Parlophone record label.

https://en.wikipedia.org/wiki/John_Lennon

During this time, 18-year-old Lennon wrote his first song, "Hello Little Girl", a UK top 10 hit for The Fourmost nearly five years later

PLANNING TO SHOOT FOUR FOUR NAMESDEC. 6, 1999: FT. GIBSON, OLKA. A seventh grader at Fort Gibson Middle School opened fire in school with a 9mm handgun. At least four students were injured. John David Luton, the district attorney at the time, confirmed to ABC News that “several” experts testified at trial on the boy’s behalf that he had been influenced by the Columbine massacre. As an example, one expert testified during a March 2000 hearing that the boy “started wondering what he would do if he were placed in the role of the [Columbine] perpetrators that were previously depicted on the TV and media,” Luton confirmed. The boy was convicted on six counts of shooting with intent to kill and one count of carrying a gun onto school property, and spent more than five years behind bars, according to reports at the time.

 

http://abcnews.go.com/US/columbine-shootings-grim-legacy-50-school-attacks-plots/story?id=26007119

 

MAY 18, 2009: LAFOURCHE PARISH, LA. A 15-year-old student “filled with hate” at Larose-Cut Off Middle School walked into a classroom with a 25-caliber semi-automatic handgun in his hand, pointed the gun at a teacher, and then fired one shot into the air. While the school was being placed on lockdown, he went into a boy’s bathroom and fatally shot himself in the head, police said. He was apparently planning to shoot four students at school and then take his own life. In his bedroom, police found a clipping from the local Daily Comet newspaper, which reran a USA Today article headlined: “10 years later, the real story behind Columbine.”

 

APRIL 10, 2007: GRESHAM, ORE. A 15-year-old was arrested after firing two shots into classrooms at Springwater Trail High School. Two students suffered minor injuries. In his backpack, police found a spiral notebook -- one page was titled “Hit-List” with four names on it. He later told police he got the idea to shoot at his school after watching a documentary about Columbine on TV days earlier, and he told them he didn’t really want to hurt anyone, he just wanted to scare them. He also said he was “psychotic” and suffering from mental health issues, according to recordings of the interviews obtained by ABC News. He pleaded guilty to assault and unlawful use of a weapon and was sentenced to nearly six years at a juvenile detention facility.

 

OCT. 28, 1999: CLEVELAND. Four boys were arrested for allegedly plotting a shooting rampage at South High School to coincide with homecoming. The Cuyahoga County Prosecutor’s Office confirmed to ABC News that for about two weeks, the group discussed – almost daily – their desire to do a Columbine attack, and they were seeking to recruit additional children to participate. In addition, the four boys had access to guns and had maps of the school, according to the prosecutor’s office. All four ended up pleading guilty in the case, and the two apparent ringleaders were sentenced to at least a year in state custody while the other two were sentenced to at least six months in custody, according to reports at the time.

FOUR HOLES

https://en.wikipedia.org/wiki/Musical_instrument

In July 1995, Slovenian archaeologist Ivan Turk discovered a bone carving in the northwest region of Slovenia. The carving, named the Divje Babe Flute, features four holes that Canadian musicologist Bob Fink determined could have been used to play four notes of a diatonic scale.

FOUR HOLES

https://en.wikipedia.org/wiki/Divje_Babe_Flute

The probability that four randomly placed holes would appear in line in a recognizable musical scale is very low according to an analysis made by Canadian musicologist Bob Fink in 2000.[22] Responding to the D'Errico carnivore-origin hypothesis, Turk pointed out that the features "common" between the carnivore-origin artifact and other chewed bones studied by D'Errico (see "Hole shape" below) do not include the alignment of the holes.

 

Bob Fink claimed in his essay[28] in 1997, that the bone's holes were "consistent with four notes of the diatonic scale" (do, re, mi, fa) based on the spacing of those four holes. The spacing of the holes on a modern diatonic flute (minor scale) are unique, and not evenly spaced. In essence, Fink said, they are like a simple fingerprint. The Divje Babe bone's holes matched those spacings very closely to a series of note-holes in a minor scale.

 

Nowell and Chase wrote in Studies In Music Archaeology III that the juvenile bear bone was too short to play those four holes in tune to any diatonic series of tones and half-tones.[27] (Fink had suggested there may have originally been a mouthpiece extension added to the bone before it was broken.)

A standard set of four timpani

https://en.wikipedia.org/wiki/Percussion_section

Quadrant

STANDARD SET FOUR

https://en.wikipedia.org/wiki/Timpani

A standard set of timpani (sometimes called a console) consists of four drums: roughly 32 inches (81 cm), 29 inches (74 cm), 26 inches (66 cm), and 23 inches (58 cm) in diameter.[13] The range of this set is roughly D2 to A3. A great majority of the orchestral repertoire can be played using these four drums. However, contemporary composers have written for extended ranges. Igor Stravinsky specifically writes for a piccolo timpano in The Rite of Spring, tuned to B3. A piccolo drum is typically 20 inches (51 cm) in diameter and can reach pitches up to C4.

FOUR PART SUITE FOUR NOTE MOTIF

https://en.wikipedia.org/wiki/A_Love_Supreme

A Love Supreme is a four-part suite, broken up into tracks: "Acknowledgement" (which contains the mantra that gave the suite its name), "Resolution", "Pursuance", and "Psalm". It is intended to be a spiritual album, broadly representative of a personal struggle for purity, and expresses the artist's deep gratitude as he admits to his talent and instrument as being owned not by him but by a spiritual higher power.[1] Coltrane's home in Dix Hills, Long Island, has been suggested as the site of inspiration for A Love Supreme.[1] His exposure to Ahmadiyya Islam has also been suggested as a source of influence.[2] Coltrane plays exclusively tenor on all parts.

 

The album begins with the bang of a gong (tam-tam), followed by cymbal washes. Jimmy Garrison follows on bass with the four-note motif that structures the entire movement. Coltrane's solo follows. Besides soloing upon variations of the motif, at one point Coltrane repeats the four notes over and over in different transpositions. After 36 repetitions, the motif becomes the vocal chant "A Love Supreme", sung by Coltrane (accompanying himself via overdubs).[3]

 

Rolling Stone called it a "legendary album-long hymn of praise" and stated: "the indelible four-note theme of the first movement, 'Acknowledgement,' is the humble foundation of the suite. But Coltrane's majestic, often violent blowing (famously described as 'sheets of sound') is never self-aggrandizing. Aloft with his classic quartet..., Coltrane soars with nothing but gratitude and joy. You can't help but go with him."[25] It was widely accepted as a work of deep spirituality and analyzed with religious subtext, although cultural studies scholars Richard W. Santana and Gregory Erickson argued that the "avant-garde jazz suite" could be interpreted as otherwise strictly based on the music being heard.[26]

FOUR NOTE FOUR SYLLABLE MANTRA- FOUR PARTS

https://www.allaboutjazz.com/john-coltrane-exploring-the-mystery-of-a-love-supreme-part-2-john-coltrane-by-k-shackelford.php?page=1

Perhaps most crucially, though, the power of this moment comes from our sense that a preordained design has just been revealed to us. Coltrane's solo had been tending toward the four-note, four-syllable mantra the entire course of his solo and we had not realized it. For this reason, the ending of "Acknowledgment" satisfies the listener in unusual ways. Unlike most jazz arrangements, which cycle after the solos back to a restatement of the head, "Acknowledgment" cycles to a revelation of the head: the central melody precipitates out of the solo.

 

We move through four parts: "Acknowledgment," an open-ended prelude built on a bass ostinato that later folds into the chanting of the words "a love supreme"; "Resolution," an up-tempo cooker that raises the intensity of the suite; "Pursuance," an even more frenetic piece, which begins with an extended Elvin Jones drum solo and seems bursting with improvisatory energy as it strays far from its (small amount of) precomposed thematic material; and "Psalm," a free-form but static saxophone chant where Coltrane "sings," with a note for every syllable, his praise poem "A Love Supreme."

FOUR TIMPANI FOUR NOTE CHORDS

https://en.wikipedia.org/wiki/Eight_Pieces_for_Four_Timpani

Eight Pieces for Four Timpani is a collection of short pieces by Elliott Carter for solo timpani – four drums played by one musician. Six of the pieces were composed in 1950. Two new pieces were added in 1966, and the rest were revised in collaboration with percussionist Jan Williams. Carter wrote the pieces as studies in tempo modulation and the use of four-note chords. They are a collection rather than a suite, as Carter suggested no more than four be performed at once. The pieces make heavy use of extended techniques, including playing with the back end of the timpani sticks, varying the beating spot on the drumhead, glissandos, and sympathetic vibration.

16 DRUMS He goes as far as ten timpanists playing three- and four-part chords on sixteen drums in his Requiem, although with the introduction of pedal tuning, this number can be reduced.

 

https://en.wikipedia.org/wiki/Timpani

FOUR BRASS ENSEMBLES 16 TIMPANI

https://en.wikipedia.org/wiki/Requiem_(Berlioz)

The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal offstage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.

 

The Sequence commences in the second movement, with the Dies irae portraying Judgement Day. The four brass ensembles at the corners of the stage first appear in this movement, one by one; they are joined by sixteen timpani, two bass drums, and four tam-tams. The loud flourish is followed by the choral entry. There is a powerful unison statement by the basses, followed by the choir. Woodwinds and strings end the movement.

FOUR NOTE CONCERTO MOTIF

https://en.wikipedia.org/wiki/Concerto_Fantasy_for_Two_Timpanists_and_Orchestra

Set into full-force vigor, the movement concludes triumphantly on a version of Glass' signature four-note concerto motif, which is also used to conclude the Cello Concerto No. 1, the Harpsichord Concerto (Glass), and the Tirol Piano Concerto. This motif is probably inspired by Rachmaninoff's signature concerto ending, which is a similar burst of four notes.

FOUR CULTURES

https://en.wikipedia.org/wiki/Drum_rudiment#Single_stroke_rudiments

Today there are four main Rudimental Drumming cultures: Swiss Basler Trommeln, Scottish Pipe Drumming, American Ancient Drumming, and American Modern Drumming.[citation needed]

SINGLE STROKE FOUR

https://en.wikipedia.org/wiki/Drum_rudiment#Single_stroke_rudiments

Visual/audio example of the drum rudiment single stroke four.Visual/audio example of the drum rudiment single stroke four.

https://en.wikipedia.org/wiki/Drum_roll

Single Stroke Four

Visual/audio example of the drum rudiment single stroke four.

Four notes played with alternating sticking, usually as a triplet followed by an eighth note. (as in the picture) or as three grace notes before a downbeat (like a ruff).

FOUR BASIC STROKES

https://en.wikipedia.org/wiki/Drum_stroke

In music, a drum stroke is a movement which produces a single or multiple notes on drums or other percussion instruments such as cymbals. There are several types of strokes: four basic single strokes, double and other multiple strokes.

 

Basic Strokes[edit]

The basic strokes produce a single hit or notes while resulting in different sounds. They are produced by different movements.

 

The full stroke begins with the tip of the drumstick held 8-12" above the striking surface. The drummer strikes the drum and then returns the stick back up to its original position.

The down stroke begins with the tip at the same height as the full stroke, but upon striking the drum head, the drummer keeps the stick low (about an inch above the striking surface).

The up stroke begins with the tip of the stick hovering about an inch above the head of the drum. The drummer strikes the surface, then brings the stick up to full stroke or down stroke position.

In the tap, the stick begins at the same position as the up stroke and remains there after striking.

The four basic strokes are used to produce a variety of accented and unaccented beat combinations.

https://en.wikipedia.org/wiki/Drum_cadence

ALSO THE FOUR DRUM FLAM

FOUR TYPES CADENCE

https://en.wikipedia.org/wiki/Cadence_(music)

In music of the common practice period, cadences are divided into four types according to their harmonic progression: authentic, plagal, half, and deceptive. Typically, phrases end on authentic or half cadences, and the terms plagal and deceptive refer to motion that avoids or follows a phrase-ending cadence. Each cadence can be described using the Roman numeral system of naming chords:

QUADRUPLE TIME

https://en.wikipedia.org/wiki/Drum_beat

Simple quadruple drum pattern, "Straight blues/Rock groove":[2] divides each of two beats into two About this sound Play (help·info) or About this sound Play with rimshots (help·info)

This establishes a quarter note pulse in (quad)duple time: each measure is formed from (two groups of) two quarter note pulses, each pulse divided into two eighth notes.

Four of the

4:00 large cross

4 U KORN

THE NAME NARAYAN WAS REVEALED BY BRAHMA AS THE TRUE NAME OF GOD THE FOUR SYLLABLE NAME HE GOT EACH OF THE FOUR SYLLABLES FROM EACH OF THE FOUR VEDAS- IT IS SAID BY MANY THAT NARAYAN IS SUPREME IT IS AGREED BY ALL THAT NARAYAN IS THE SAME AS KRISHNA BUT SOME ARGUE NARAYAN IS SUPREME OVER KRISHNA

THE PRODIGY SINGING NARAYAN

 

https://www.youtube.com/watch?v=bzVjZu4fl4o

 

QUADRANT

THE NAME NARAYAN WAS REVEALED BY BRAHMA AS THE TRUE NAME OF GOD THE FOUR SYLLABLE NAME HE GOT EACH OF THE FOUR SYLLABLES FROM EACH OF THE FOUR VEDAS- IT IS SAID BY MANY THAT NARAYAN IS SUPREME IT IS AGREED BY ALL THAT NARAYAN IS THE SAME AS KRISHNA BUT SOME ARGUE NARAYAN IS SUPREME OVER KRISHNA

 

https://www.youtube.com/watch?v=bzVjZu4fl4o

 

QUADRANT

 

WHENEVER YOU SEE HINDU VIDEOS OF HINDU STORIES THE GODS SAY "NARAYAN NARAYAN" OR THE SAGES

THE FOUR SYLLABLE NARAYAN- BRAHMA GOT EAACH OF THE FOUR SYLLABLES FROM EACH OF THE FOUR VEDAS THE FOURTH IS TRANSCENDENT THE FOURTH SYLLABLE OF NARAYANA IS SO TRANSCNEDNET IT IS OFTEN NOT EVEN SAID AND JUST NARAYAN IS SAID BUT EVEN WHEN IT IS JUST NARAYAN IT IS SAID TO HAVE FOUR SYLLAB

(Narayan lays down like his leg is hurt and Laxmi is massaging his leg it looks like in the picture)

 

https://www.youtube.com/watch?v=Hi2Bzyykgok

QUADRANT

FOUR ELEMENTS OF SOUND- I POSTED ALL THIS STUFF AND BETTER STUFF IN OVER 60 QMR BOOKS I FORGOT A LOT OF IT AND I HAD SEEN WAY MORE OVER THE YEARS I FORGOT

https://www.slideshare.net/cponce/musical-elements-sound

 

https://image.slidesharecdn.com/musicalelementssound-111011215540-phpapp02/95/musical-elements-sound-3-728.jpg?cb=1318370172\

QUADRANT

SOMETHING 2 DIE 4 TUPAC ALBUM STRICTLY 4 MY N WORDS

 

https://www.youtube.com/watch?v=cdvhi8b1Hrs

Quadrant

QUADRANT COVER TOOTS AND MAYTALS

 

https://www.youtube.com/watch?v=ERiTX9Pa23c

Quadrant

MUDVAYNE FOUR PART NAME IN ALBUM COVER

 

https://www.youtube.com/watch?v=uYgxEjbXzew

Quadrant

MUDVAYNE FOUR ANGLE SPLIT SCREEN QUADRANT

 

https://www.youtube.com/watch?v=durWyWk5aj4

Quadrant

DAVID BENSON PURPOSE OF THE CROSS

 

https://www.youtube.com/watch?v=V7VLyxCTLic

Quadrant

https://en.wikipedia.org/wiki/Four_(Acts_of_Love)

Four (Acts of Love) is the sixth studio album by Australian singer-songwriter Mick Harvey - and his second since leaving Nick Cave & The Bad Seeds. It was released in June 2013 under Mute Records. The 14 tracks make up a song cycle, bookended by "Praise the Earth (Wheels of Amber and Gold)" and "Praise the Earth (An Ephemeral Play)". The album includes eclectic covers including The Saints' punk "The Story of Love", P. J. Harvey's "Glorious" - she also duets with Harvey on the track - and Van Morrison's "The Way Young Lovers Do" off the classic Astral Weeks.

THE FOUR LETTERS

 

https://www.youtube.com/watch?v=Hn6zAIQnGxM

Quadrant

FOUR ORIGINAL CAST MEMBERS

https://en.wikipedia.org/wiki/The_Love_Boat

The Love Boat ran for nine seasons plus four specials. A made-for-TV movie, titled The Love Boat: A Valentine Voyage, starring four of the original cast members, aired on February 12, 1990

http://mspaintadventures.wikia.com/wiki/Quadrants

Quadrants are a complicated system of four types of romance. Trolls naturally experience all four types of romance, while humans only experience a single type, cherubs experience another, and carapacians apparently experience at least two of them. However, it has been implied that humans may also be able to feel emotions from at least two quadrants.Sburb Logo They are a frustratingly difficult concept for humans to grasp, so much so that in response to a callous remarkSburb Logo, Andrew Hussie trolls the readers by forcing us to read the troll relationship info all over again,Sburb Logo BACK TO BACK TO BACK TO BACK TO BACK TO BACK.

(before I discovered the quadrant model I used to begin a lot of raps by saying one two three four as well and it was weird because I felt I rapped better when I did that and that was before I discovered the quadrant model)

This is actually a classic freestyle he says a lot of fours in it including counting to four and beginning it with two plus two is four and the beat boxing he didin the freestyle has been sampled a lot and used by other rappers

 

ROADMAN SHAQ

CROSSHAIRS LOGO

http://www.complex.com/music/2011/10/hip-hops-50-greatest-album-covers/26

http://images.complex.com/complex/image/upload/c_limit,w_680/fl_lossy,pg_1,q_auto/uuwvmoz5pfinw0vmkop9.jpg

Though Yo! Bum Rush The Show only hinted at the commercial success and sonic perfection that Public Enemy would go on to to achieve, the cover found the group's visual identity nearly fully formed, from the all-in-the-huddle photo to the tiny running text repeated along the cover's lower border: "The Government's Responsible." It also marks the album debut of the group's timeless B-Boy-in-the-crosshairs logo. PE logo trivia: that B-Boy is actually traced from the silhouette of LL Cool J hypeman E Love.

http://www.complex.com/music/2011/10/hip-hops-50-greatest-album-covers/5

For his final (real) album Pac finally reached the pinnacle of his persecution complex and had himself nailed to a cross. Make no mistake, though—he means no disrespect to Jesus Christ, as a very serious disclaimer on the cover specifies. (Of course, Bay Rap heads know that Dre Dog, a.k.a. Andre Nickatina, was rocking the crucifixion cover with The New Jim Jones some four years prior, but impact is what matters.)

https://en.wikipedia.org/wiki/The_Mark_Four

The Mark Four was an English pop rock band from Hertfordshire, England that was formed in 1963. Members included Kenny Pickett (vocals), Eddie Phillips (guitar), John Dalton (bass), Mick Thompson (guitar) and Jack Jones (drums).[1]

THREE OR FOUR STRINGS

https://en.wikipedia.org/wiki/Cigar_box_guitar

Many different tunings can be used for cigar box guitars. Common tunings are:[8]

 

Open tuning

three strings: for example A – e – a or G – d – g

four strings: for example A – e – a – c#' or G – d – g – b

Classical tuning of a six-string guitar (E – A – d – g – b – e’)

three strings: for example A – d – g

four strings: for example d – g – b – e’

Magic jazz tuning: A – e – g

Hawaiian tuning: A – e – f#

 

Vic Ruggiero, lead singer of the Slackers, recorded tracks in Japan for his upcoming solo album. He plays a four-string cigar box guitar built by Adam Holmes, of Dust Box Guitars.[10]

Frank Turner plays a four-string cigar box guitar built by Adam Holmes, of Dust Box Guitars.[10]

FOUR COURSES STRINGS

 

https://www.youtube.com/watch?v=B69ObevuWBM

Quadrant

FOUR COURSES

http://www.berkshirestringedinstruments.com/courses.html

The mandolin is a musical instrument in the lute family and is usually plucked with a plectrum or 'pick'. It commonly has four courses of doubled strings tuned in unison.

MORE

Sometimes abbreviated to uke, the ukulele is a member of the guitar family of instruments; it generally employs four nylon or gut strings or four courses of strings.

https://www.coursera.org/learn/string-quartet

Welcome to the World of the String Quartet, where you will hear the extraordinary stories behind great repertoire, discover renowned performers' experiences, and develop keen insight as a listener. This first program samples stunning repertoire from some of the most significant composers: Ravel, Beethoven, Schubert, Tchaikovsky, and Dvořák. What power can four instruments hold?

XSCAPE FOUR OF THEM X- I PASSED BY A PLACE LAST NIGHT CALLED ELIXIR I THINK AND THE X WAS COLORFUL UNLIKE THE OTHER LETTERS I THINK

 

https://www.youtube.com/watch?v=w_BTEFAVwjU

Quadrant

FOURTH TRANSCENDENT MEMBER OF TLC

http://planetjanet.invisionzone.com/index.php?/topic/6743-did-lisa-lefteye-lopes-ever-sing/

Left Eye didnt sing on backgrounds (at least from CSC - 3D ..only maybe their songs that had lil chants). TLC always had a "fourth member" in the studio by the name of Debra Killings,that ppl dont know about. She's done ALOT of background vocals for TLC's projects. Her voice blends well with T-Boz and Chili's,its more polished and gives them a "fuller" sound,vocally....even to the point to where sometimes one of the girls voice wont even be present in the background. For instance their song "Take Our Time" -the background vocals are done only by Chili and Debra Killings. T-Boz and Left Eye aren't present on that song AT ALL even tho it sounds like T-Boz is singing background,nope...its Debra.

FOUR MEMBERS

https://en.wikipedia.org/wiki/Soul_for_Real

Soul for Real (also known as Soul 4 Real and Soul IV Real) is an R&B group from Wheatley Heights, New York, currently living in Atlanta, Georgia made up of brothers Christopher Sherman Dalyrimple a.k.a. Choc (born April 30, 1971), Andre "Dre" Lamont Dalyrimple a.k.a. KD now (born April 4, 1974), Brian "Bri" Augustus Dalyrimple (born December 14, 1975), and Jason "Jase" Oliver Dalyrimple a.k.a. Jase4Real (born May 10, 1980).

SPICE GIRLS AND THE ELEMENTS

http://tvtropes.org/pmwiki/pmwiki.php/Main/FourElementEnsemble

Spice Girls

In Holler:

Melanie B - Fire

Melanie C - Earth

Emma - Water

Victoria - Wind

In Let Love Lead The Way:

Emma - Earth

Victoria - Fire

Melanie B - Wind

Melanie C - Water

SPICE GIRLS REPRESENT FOUR ELEMENTS- THREE PLUS ONE PATTERN

 

https://www.youtube.com/watch?v=RtczIm5XrNo

Quadrant

SPICE GIRLS REPRESENT FOUR ELEMENTS

 

https://www.youtube.com/watch?v=gFBWbH5CeRE

Quadrant

HOLLER

BACKSTREET BOYS FOUR ELEMENTS

https://www.dailydot.com/upstream/backstreet-boys-comeback-top-15/

“Incomplete” is from BSB’s comeback album, Never Gone, a collection of underrated works that reminded us of our never-evading fandom upon its 2005 release. Nick’s haircut kind of makes him look like Joffrey Baratheon in the video; in it the guys experience the wrath of the elements: Wind, water, fire, and earth make appearances as the boys all boast their feelings openly to the sky. They are sad, worn, and incomplete.

BACKSTREET BOYS REPRESENTING ELEMENTS

https://en.wikipedia.org/wiki/Incomplete_(Backstreet_Boys_song)

Directed by Joseph Kahn, the music video for "Incomplete" sets the band in an arid desert environment, and features each of the band members in a different elements or forces of nature: Brian Littrell, water; Nick Carter, fire; Howie Dorough, rain; Kevin Richardson, snow; and A.J. McLean, the sun.

BACKSTREET BOYS AND ELEMENTS

http://www.mtv.com/news/1499920/backstreet-boys-brave-the-elements-for-incomplete-video/

Kahn used natural elements, including fire, snow, wind and rain, to symbolize the group's contrasting personalities. He decided that A.J. McLean embodies the band's rock and roll sensibilities, with his "fiery light and Hollywood cool," so he framed McLean by the sun as he drives a classic car down the highway.

 

Nick Carter is "very volatile at times, beautiful to look at, but dangerous if you get too close," so he is represented by fire. In the video, Carter torches McLean's '68 GTO (the original idea was to torch a barn, but the local fire marshal wouldn't give approval).

 

Howie Dorough, the "slick guy in the group," according to Kahn, became rain. He sits under an old Joshua tree as a gust of wind picks up and the downpour starts.

 

Kevin Richardson, "the most mature and reserved" Backstreet Boy, is "colder," so he became snow. He's seated at a white piano in the midst of a smoldering forest as a flurry starts and smoke rises from the ground.

 

And Brian Littrell, who Kahn describes as "this big ball of energy, you can't stop him," became the crashing waves of the ocean. He stands with his legs in the water as thunderclouds assemble above him.

FOUR BARS FOUR YOU ARS

http://ylok100.qwriting.qc.cuny.edu/2010/02/26/song-analysis-i-want-it-that-way-backstreet-boys/

The song starts off with a four bar guitar instrumental introduction that outlines three significant chords, arpeggiated, that the verse will be based upon: F# minor (The minor VI chord), D Major (IV chord) and A Major (I chord). The instruments used are simple: drums, bass, a guitar that mostly arpeggiates the intro.

 

What is interesting about this piece is that the tonic (the main key of the song) is not immediately established in the beginning of the song, which is not common with pop songs. When we think of pop songs we usually think of major tonality, equal phrasing and strophic in nature. The original key signature of this piece is in A major, however the very first chord is the minor VI chord which gives an odd progression followed by a plagal cadence from the IV chord to the I chord. The first words of the song is not on a down beat of the bar but acts more like a pickup on the 4th beat in the preceding bar. The verse section of this song utilizes primarily three chords: VI, IV, I with the substitution of the V chord instead of the IV chord towards the end of the phrase. The first phrase, with the lyrics “You are my fire The one desire Believe when I say I want it that way” is broken up into four bar phrases each of which contains four beats, making the pulse of this piece in common time. This outlines the typical symmetric meter of pop music, even the tempo of the piece is moderately paced – not too fast nor is it too slow.

 

It is also interesting to note that the cadences of the verses are not fulfilled until the name of the song, in the lyrics, is sung: “I want it that way” (progression: vi – V – I) This stresses the importance on the name of the song (which is a contributing factor for the song’s originality and uniqueness) by finally having a perfect cadence instead of a plagal cadence which doesn’t really give a strong solid tone. The only instance in the entire song that actually uses the perfect cadence is whenever the title is sung giving emphasis. The chorus uses three chord progression, IV-V-vi where it is repeated and ultimately goes to its tonic (A major) replacing the vi chord at the end of the phrase. After the first encounter with the chorus the next verse has only two phrases instead of four and it jumps again back to the chorus. Note the second time around, the chorus does something a bit more interesting: “I want it that way” is now using a suspended chord that resolves to the dominant chord of the bridge section: F# minor (making the progression V of the relative minor key). The reason for the suspended chord and not another dominant chord is to suspend the growing tensions which lead to the bridge.

 

The bridge section of this piece is in the relative minor (A major – F# minor) which gives a contrasting tone to the first half of the piece. It’s interesting to note that the bridge utilizes a different chord progression – it is no longer three chord progression but it uses a descending progression: i-vii-vi-IV-V which basically outlines the minor scale going downwards. After the bridge there is a repetition of the first verse however what is interesting about the verse this time is that the individual male voices outline the F#m7 with an added 9th to give it a more grand feeling before it modulates to the supertonic – B major. Although not a wide key modulation, the transition from the key of A major to B major was made very smooth by using the added 9th and linking it with the overlap of the last key in A major to the very first key in B major.

 

The overall tone of this piece has a sensitive quality by using a submediant (vi) chord right at the beginning and a progression that’s not as strong.

 

Melody and lyrics

 

Why is it that people are able to recall the chorus of the song “Tell me why Ain’t nothing but a heartache Tell me why Ain’t nothing but a mistake Tell me why I never wanna hear you say I want it that way” even if they have no clue on the rest of the lyrics? The chorus is made the most prominent of the song. It actually follows good counterpoint rules, which date back to the baroque era and Bach’s music: what goes up must come down in the melody line and skips of a third or more needs to be resolved step-wise downward. The “Tell me why” sections are exactly a third with a step up to the climax going up and once its reached the top it falls down in a step-wise motion outlining the major scale (Sol-Fa-Mi-Re-Do-Ti-Do) This is really simple but very effective paired with the three chord progression in the bass line. The end of the melody does a small “dip” using the lyrics “…heartache…” and “…mistake…” but it is dramatized by associating these words with the V chord and then instead of going to the tonic it gives us a deceptive cadence (from a V chord to a vi chord instead of the I chord in this case) emphasizing heartache and mistake to be a bit melodramatic. The other interesting thing is that the chorus is in ways a counterpoint by using two interacting melodic lines: One states a question (Tell me why?) and the other follows up (Ain’t nothing but a heartache).

 

The lyrics of this song are sensitive and the target audience is typically teenage girls. It opens up with a strong using the words “fire”, which gives an image of passion, paired up with “desire”. But it is more interesting to note that not only does the singer want that person to be their fire and desire but he also states that he wants it to be that way.

 

“You are my fire

The one desire

Believe when I say

I want it that way”

 

This nature of this song revolves around a failing relationship or one that doesn’t have the usual happy ending.

 

“But we are two worlds apart

Can’t reach to your heart

When you say

I want it that way”

 

It’s interesting to note how the two characters use the phrase “I want it that way”. Our singer uses it to state that he wants to be in love with the person where as the other person wants it to end and stay that way.

 

“Tell me why

Ain’t nothin’ but a heartache

Tell me why

Ain’t nothin’ but a mistake

Tell me why

I never wanna hear you say

I want it that way”

 

The chorus states the singer questioning the other person’s motive on the break-up where the other person counteracts with the fact that it’s a “heartache” and that it was a “mistake”. However the singer states that he doesn’t want to hear the words to end the relationship.

 

“Now I can see that we’re falling apart

From the way that it used to be, yeah

No matter the distance

I want you to know

That deep down inside of me…

You are my fire

The one desire

You are, you are, you are, you are…”

 

The main idea is so that the singer is able to convey to the person that he does not regret being in love nor does he want the his target to have the regret either. The four “You are”s are interesting because it is technically an incomplete phrase and as I mentioned earlier uses a special F#minor7 chord with an added 9th. In a way it kind of accentuates the other person, the added 9th into the chord really makes the tone a bit more heavenly. This is an example of word painting without having the lyrics to finish the phrase, instead it is intended in just the music alone.

FOUR PIECES

https://en.wikipedia.org/wiki/Miscellaneous_solo_piano_compositions_(Rachmaninoff)

The Four Pieces of 1887 are perhaps Rachmaninoff's first comprehensive works. Each has a clear aim and method to attain it, and all unfold with a fluency significantly more advanced than that shown in the previous nocturnes. The opening Romance, in F-sharp minor, harks back to Frédéric Chopin's tenderness. The E-flat minor Prelude is an unremarkable but well-thought out piece. The third, a Mélodie in E major, is modestly expressive, but the Gavotte in D major is, although repetitive, the most energetic and vigorous piece. These were published posthumously in Moscow in 1948, without an opus number.[4]

 

In 1890, after vacationing at Ivanovka, his family's summer residence, Rachmaninoff wrote a letter to Natalia Skalon, a family friend in Moscow, reporting that he had to write a fugue for Arensky's class, "an unpleasant circumstance however you look at it." It turned out to resemble a canon more than a fugue, however, and was published in 1949 as Canon in E minor. Although written as an assignment, the piece conveys the impression not of an academic contrapuntal exercise but rather of a vivid outburst. The texture and harmony show enough advancement over his earlier Four Pieces to indicate that he had been sensible not to publish them as his opus 1.[4]

The Dream (Rousseau painting)

AZTECS FOUR SIDED LOTS

http://www.sciencemag.org/news/2008/04/how-aztecs-did-math

In a paper published in tomorrow's issue of Science (4 April, p. 72) the authors show that Aztec surveyors probably used several types of algorithms to calculate area. Some parcels involved simply multiplying length by width. But in other, irregular four-sided lots, they had to come up with different approaches, such as multiplying the average of two opposite sides by an adjacent side.

I'm a paragraph. Click here to add your own text and edit me. It's easy.

MUSIC ONE TWO THREE AND FOUR

http://www.musicnotes.com/blog/2014/11/14/count-music/

As you can see in the quarter-to-eighth-to-sixteenth note chart above, we count music aloud (“one-and-two-and-three-and-four-and”) to help identify the beat of a piece of music. This allows you to sub-divide the quarter notes (beats) in a simple, audible way.

There are many ways to count music aloud, including the popular use of numbers, “and,” and vowels. Each measure’s downbeats take the number, upbeats the “and,” and subdivisions in-between take vowels including “e” and “a.” Triplets can just be counted out by sounding out “trip-a-let,” using a number and the word “1-trip-let,” “2-trip-let,” or you could use any triple-syllabic word you fancy “chim-pan-zee” “pine-ap-ple” “mus-ic-notes” (ok, maybe the last one is a bit of a stretch). For dotted notes, you simply divide the beats-per-measure out.  For example, say you have a measure in 4/4 time with a half-note, dotted quarter and eighth note. You’d count “One…Two, Three-and-four, and.”

OTHER FOUR TIMES

http://www.musicnotes.com/blog/2014/11/14/count-music/

If you only practice counting in 4/4 time, you’ll most likely run into problems when attempting to play in other time signatures. It’s helpful to familiarize yourself with and start practicing a variety of time signatures.

 

Listen and/or follow along to sheet music for well-known works in somewhat obscure meters like Dave Brubeck’s “Take Five” in 5/4 time, “Money” by Pink Floyd in 7/4 time and “Piano Man” by Billy Joel, which uses 3/4 time (unusual for a pop song). Count aloud with the notes on the sheet music, until you begin to notice and feel patterns. And for even more obscure time signatures, like 7/8 time, try dividing each measure into more manageable parts (2 times 2 and 1 times 3), as this sheet music example of Peter Gabriel’s “Solsbury Hill” displays.

64 IS 16 TIMES 4

Sixty Fourth Note (Hemidemisemiquaver)

 

Sixty Fourth Note, hemidemisemi quaver

As a young music student I never tired of the name hemidemisemiquaver, and for this, if nothing else, I am glad I learned the UK version of the note names rather than the US version. Hemidemisemiquaver just sounds so much more fun than Sixty-fourth note! The Sixty-fourth note has 4 flags and is the shortest note in general notational use. It may also be beamed together. The name hemidemisemiquaver actually makes sense if you look at it. Each part of the name is the word for 'half' in Greek (hem), French (Demi) and Latin (Semi). So a hemidemisemiquaver is half of a half of a half of a quaver (eighth note)... i.e., a Sixty-fourth note!

 

Sixty Fourth Note (Hemidemisemiquaver)

 

Sixty Fourth Note, hemidemisemi quaver

As a young music student I never tired of the name hemidemisemiquaver, and for this, if nothing else, I am glad I learned the UK version of the note names rather than the US version. Hemidemisemiquaver just sounds so much more fun than Sixty-fourth note! The Sixty-fourth note has 4 flags and is the shortest note in general notational use. It may also be beamed together. The name hemidemisemiquaver actually makes sense if you look at it. Each part of the name is the word for 'half' in Greek (hem), French (Demi) and Latin (Semi). So a hemidemisemiquaver is half of a half of a half of a quaver (eighth note)... i.e., a Sixty-fourth note!

QUADRANT COVER

https://media1.fdncms.com/sfweekly/imager/five-hip-hop-album-covers-that-would-make/u/big/2582694/cru.jpg?cb=1454778131

https://archives.sfweekly.com/shookdown/2011/10/07/five-hip-hop-album-covers-that-would-make-insanely-difficult-jigsaw-puzzles

2. Cru, Da Dirty 30

 

Def Jam's Cru produced an album that is now largely remembered by about three rap nerds and anyone looking to put together a playlist of people who sampled Portishead. ("Straight From L.I.P." is the track.) The cover, however, is based around a montage of photos that spells out the group's name -- a brilliant brain-hurter waiting to happen.

CRUCIFORM GUITAR

https://www.metal-archives.com/images/1/3/5/7/1357.jpg

https://www.metal-archives.com/reviews/Metal_Church/Metal_Church/1357/

My first encounter with California's Metal Church probably came around a year after their eponymous debut dropped, the band had achieved some visibility even at the dawn of their career and people were talking about them in my junior high and the neighboring high school where all the cool kids we wanted to be were hanging out. This is more than likely due to their proximity to Metallica, both geographically and by the fact that they were to become label mates once Elektra issued this record; not to mention that both groups wore their genre on their sleeve by picking incredibly obvious, cheesy band names. Though I admit, 'Metal Church' has a spiked hardness about it which resonates down through the ages, the moss-laden cruciform guitar image against the foggy backdrop an iconic cover despite the fact it looks like it popped out of some awful 80s horror film.