Chủ Nhật, 1 tháng 7, 2018

Waching daily Jul 1 2018

- Yes, I wanted to. / - I wanted to keep going.

The kids kept riding down and then going back up.

That's the Everything Restaurant.

You get sides with every drink you order.

- My gosh, what's all that? / - What?

- That's what they serve. / - You get all that?

- Yes. / - No way. They won't make money.

That's just the start. It's really shocking.

But you didn't order many drinks. You get that much?

- That can't be true. / - More drinks mean more food.

- We were surprised. / - The dishes differ every day.

- Depending on the catch. / - That's amazing.

The locals ask the fishermen what they caught.

- What's good? / - What they have.

And they answer that they have everything.

That's why it's the Everything Restaurant.

Oh, from "we have everything."

Everything, everything, everything.

They say that's why it's called Everything Restaurant.

When will it be ready?

It's coming right up.

- We'll finally get the side dishes. / - I'm hungry.

Goodness.

(The table is full of endless side dishes)

The way the system works...

- It's all raw fish. / - It's very famous.

You pay only $30 per person.

- $30 per person? / - Yes, $30 per person.

If you order 3 bottles of alcohol, you get 20 dishes.

Every time you order another bottle,

you get a bunch of other dishes.

If you get the standard set and order more,

you get more food.

She put iced water in the bucket.

Jeongcheol.

I haven't had a beer with you in ages.

Thank you for coming all the way here.

- No, no. I should thank you. / - Thanks.

My first glass on my first trip with you.

(It tastes like honey)

- Yes, this is it. / - It's just...

- This is it. / - Yeah.

Show us what you get?

I don't know what to start with.

- Sea squirt bibimbap. / - Sea squirt bibimbap?

How is that possible?

- Seriously. That place is no joke. / - It's a base dish.

Tongyeong is famous for sea squirt.

- Yes, it's famous for that. / - I love sea squirt.

They are in season now.

It's good.

- Sea squirt can be quite fishy. / - Exactly.

Gosh, I can taste the ocean in my mouth.

With this dish, we already had an appetizer.

Yeah.

When it comes to sea squirt...

I can't believe I didn't go there.

I don't enjoy it all too much.

- This bibimbap is great. / - I'd go just for that.

- It's better with bibimbap than separately. / - Right.

(It suits their tastes perfectly)

You have to come on an empty stomach.

You'll lose out if you eat beforehand.

- How can you finish all this? / - You can't.

- The main dish hasn't been served. / - There's more?

- We'll get more dishes? / - We're just getting started.

The main dish wasn't served yet.

That was like a set of appetizers.

- That was the appetizer? / - Yes.

The main dish is coming.

- How is that possible? / - They'll start serving now.

- That's the class of Tongyeong. / - It's not over yet?

- There's more? / - We'll have to stack the dishes.

- We didn't have space on our table. / - Exactly.

It's not that we're not eating.

It's just not reducing even though we're eating them.

Here's another dish.

You have to keep eating.

Didn't she give you extra because it's Seungsoo?

That's why we asked

if she gave us more for the TV show.

But if she did that, the others would complain.

- That's right. / - That's so true.

The raw fish is cut perfectly for drinks.

One piece of fish for one sip of alcohol.

How is it?

Even the texture is very good.

It's so chewy.

- Right? / - It's so chewy.

- This tastes great. / - Exactly.

It gets tastier the more I chew.

The texture is great.

The more I chew, the sweeter it tastes.

- You'd get scared to order more drinks. / - I was.

I was scared.

- When there are many side dishes... / - What's that?

- Cuttlefish. / - Cuttlefish?

- That's the ink. / - It's a cuttlefish.

- Cuttlefish. / - Gosh, that's just...

Let me try.

(He eats it in one go with a lot of ink)

How is it?

I keep saying this.

It's the freshest.

You have to give us a smile after eating that ink.

- For the show. / - You're happy, right?

- There we go. / - He did it.

- There it is. / - He knows how it's done.

I know.

I'm getting tipsy.

The best part of traveling is this.

- It's the delicious food. / - He became the Joker.

- His lipstick color is pretty. / - I agree.

A trip with great food is the best.

Enjoying great food brings so much happiness.

(They wrap up their day as they enjoy their drinks)

(Exciting morning of their second day in Tongyeong)

That place is so awesome.

(They can take a boat to Yokjido from Samdeok Port)

- It's the next day morning? / - Yes.

We're at the port.

- You're researching again? / - Yes.

Such a researcher.

I prepared everything in advance.

- Since it's our first trip. / - The ferry.

I see. We can go there through the ferry terminal.

(50 minutes by ferry from Samdeok Port to Yokjido)

Since it takes 50 minutes, you can take rice rolls...

- Yes, you must eat on the ferry. / - You should.

We should depart from Samdeok Port.

To spend our day efficiently,

we'll start from Samdeok Port.

A person like him makes everyone comfortable.

That's great.

It was really convenient. It was for me.

- We get the tickets from here? / - Yes.

We'll take the ferry at 8:30 a.m. 2 adults, please.

Thank you. / - Thank you.

- So you need your ID. / - You must take your ID.

- Let's go. / - To Yokjido!

(One Day Three Meals Tour departs for Yokjido)

I'm excited.

We only traveled a bit on the ferry

but I see lots of small islands.

- I like the smell of the sea. / - I agree.

It's refreshing.

(The ferry cuts through the sea and heads to Yokjido)

(Ah)

This is so nice.

The inside of the ferry was amazing.

- It must be nice inside. / - It was so comfortable.

- Wow, they're eating a lot. / - What's that?

- Pork belly with oyster? / - What is that?

- What's that? / - Let me explain about Yokjido.

This region is famous for mackerel and sweet potato.

Mackerel and sweet potato?

- Is that so? / - That's why...

I plan to eat every dish made

with mackerel and sweet potato.

- Really? / - Yes.

- I love both. / - Right?

- Yeah. / - We eat both of them often.

Since it's breakfast, instead of eating sashimi...

- A meal? / - How does a mackerel meal sound?

- A mackerel meal? Okay, okay. / - Let's go.

Hey, where are we going to eat?

- Seungsoo, that place looks great. / - Which one?

- Let's eat on the second floor. / - Sure, sure.

- We can see the ocean from there. / - That's great.

Isn't that mackerel?

They have live mackerel.

- Those are live mackerel. / - That's so interesting.

- I've never seen it before. / - They go in circles.

They keep circling in the same direction.

The colors are so distinct.

That's how the color looks when they're fresh.

- This is intriguing. / - I've never seen live mackerel.

Exactly. Same here.

I heard this is the only island that can raise mackerel.

- Raising mackerel? / - Yes.

- They raise mackerel? / - Yes, they do.

This is the only island that does.

I'm getting even hungrier. Let's hurry.

Don't you think Yokjido is a funny name?

- It is. / - It sounds like "curse."

I see signs that say, "Yokji post office,"

"Yokji church," "Yokji elementary school."

Stop emphasizing the "curse" part.

- Yokji. / - Yokji.

It's a very unique name.

I wonder what it means.

I got curious and I looked it up.

In Chinese characters,

"Yok" means to "desire"

and "Ji" means "to know."

It's an island that gives you a desire

to know more about it.

That's why it's called Yokjido.

That's the story behind the name.

- That's how charming the island is. / - Exactly.

- It's a meaningful name. / - So Yokjido...

- Has a different meaning. / - It does.

- It made the island seem different. / - I see.

Yokjido.

(The fresh mackerel is now being cooked)

That must be so delicious.

That has to be delicious.

Freshly caught mackerel...

They're really tender, right?

I don't know how to describe it.

It's like, "Did mackerel always taste like this?"

Smelling the food makes me hungry.

I can smell the food.

- Oh, yes. / - Thank you.

- Hello. / - It's finally served.

It's finally served.

(Another feast is served)

This is insane. My goodness.

(It's a special mackerel dish you can taste in Yokjido)

We're going to show you a unique way to eat mackerel.

- Freshly caught mackerel. / - Yes.

You'd never dream to freeze them here, right?

Right.

If you come to Seoul,

I'll show you what frozen Mackerel is like.

Seriously.

Let's get started.

I'd like to start with the natural flavors.

(Seungsoo takes a bite first)

This fish right here...

It doesn't need anything else.

That's the face of someone who ate something good.

You have to look angry.

This is game over.

I'll try some.

It's game over.

- It must be really good. / - That's the face...

When you eat something really good.

The best mackerel of my life...

I shouldn't get used to this taste.

- Now I can't eat anything but fresh mackerel. / - Yeah.

It's so juicy.

In Seoul, the juice just tastes like oil.

But here, it doesn't just taste like oil.

It's real juice from the meat. You can taste it.

- The meat looks plump. / - I know.

- It has to be juicy. / - I want to eat that again.

I feel sad.

Oh, man...

I'm sure it's harder for the two of them than for us.

Because we know how it tastes.

- You know the taste. / - I still remember it.

My mouth keeps watering.

Let me try this as well.

I'll dip it in the sauce.

The meat is plump.

How is it?

This is so good. The chef here cooks really well.

The sauce is good.

As you know, mackerel is packed with

vitamins and minerals.

- It's the most nutritious fish. / - Yes, it is.

Wasn't it salty?

- Not at all. / - It wasn't salty at all.

Gyeongsang-do foods are normally salty.

But that wasn't salty at all.

Just that alone is tasty.

They gave us lettuce and cabbage.

I don't think there's anything that goes with lettuce.

I wondered why they gave us this

when we ordered mackerel.

- We're meant to eat it as a wrap. / - Like meat.

- Wrap the fish in lettuce. / - Radish too.

You have to go to Yokjido to taste that.

It's delicious.

- It's similar to meat wraps. / - I know.

This is interesting.

- It tastes like good meat. / - He's suddenly excited.

- I was really surprised. / - After tasting it?

I don't think you could tell it's fish if you're not told.

At first, I thought it wouldn't go well with lettuce

but now that I see how it looks, it looks delicious.

I've tried lots of dishes but...

Instead of paste, I used the pollack roe...

- It was fantastic. / - Pollack roe!

- It's a flavor you can't imagine. / - That looks so good.

- Pollack roe. / - We're eating so much interesting food.

Add that here.

(I'm feeling good)

Seungsoo, you look excited.

(His extreme happiness makes his eyebrows dance)

This is a new kind of mackerel dish.

I love eating it with pollack roe.

It accentuates the flavor.

Are there many good mackerel restaurants in Yokjido?

- There are quite a few. / - There are?

- There are quite a few. / - The flavor changes.

Yeah.

Nothing tastes bad here.

I just had the best mackerel of my life in Yokjido.

It looks just like a cafe...

- That place looks like a bakery. / - I know.

It's such a nice atmosphere.

When we go outside, there's a coastal road.

The road goes around the island.

- A coastal road? / - Yes.

I've prepared a special convertible

to cruise down that road.

- Here? It's a convertible? / - Yes.

It's open on all sides.

- Really? / - Yes.

I'm a bit worried now after this great meal.

You're worried?

- No? / - It's going to be very cool.

Okay, we need to work that out.

So you go on ahead, I'll eat some more first.

- But my legs won't move. / - They won't...

Can we take this to go?

- It must be really good. / - I want to live here.

For more infomation >> Welcome to "Everything Restaurant" [Battle Trip/2018.07.01] - Duration: 14:05.

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Improvisation around 1600 - Introduction - Duration: 23:04.

Hello and welcome to Early Music Sources.com

my name is Elam Rotem and today we'll give an introduction to improvisation around 1600.

When we talk about improvisation nowadays, we can mean different things:

from truly inventing something from scratch ex-tempore, on the spot,

up to merely adding some little ornaments to a composed piece.

Along this spectrum there are many shades of grey.

For example, how much is truly invented on the spot,

how much is based on an existing material or common progressions,

how much one has prepared in advance and so on.

All these grey situations were not defined or categorized in earlier times,

they were all referred to as simply "performing music".

Now, there are different ways to go about when discussing historical improvisation.

In this episode we will focus on the line between composition and improvisation,

or in other words, what is given versus what is actually performed.

We will go through different musical situations and see

how much musical material included in them was composed in advance,

and how much was what we nowadays refer to as improvisation.

1. Adding ornaments & diminutions upon a given part or parts

The idea is simple: the composer supplies the basic notes of the piece,

and the performer, according to his level and art, should adorn the music

with little graces as well as with more elaborated passaggi or diminutions.

The term diminutions refers to the fact that the note values,

which are typically big to begin with, are diminuted, getting smaller, faster.

This field of performance practice is by far the most rich in treatises.

The earliest treatise in the 16th century is Sylvestro Ganassi's Fontegara from 1535.

Towards the beginning of the 17th century more and more such treatises were published.

Among the prominent authors there are dalla Casa, Bassano,

Bovicelli, and Ricardo and Francesco Rognoni.

The treatises are often based on gradually learning how to fill the between different intervals.

Once the student accumulated different ways to add diminutions between the various intervals,

he could quite easily, and without deep understanding of counterpoint,

perform pieces according to the accepted performance practice,

that is, with many ornaments and diminutions.

Nowadays, these treatises are studied mainly by instrumentalists,

but they are often meant for singers.

Towards the turn of the 17th century, more and more music

was composed with diminutions written out in them.

From this point on one may wonder, depending on the context of course,

whether the composer expected more diminutions to be added,

or expected instead, like Giulio Caccini for example,

that the carefully written-out notes will be executed precisely without adding anything else.

As one could have an entire episode on this subject alone,

I'll mention briefly only three further interesting points:

1. Addition of ornaments and diminutions in ensemble.

When we think of diminutions we often think of an accompanied single virtuoso performer,

but the addition of ornaments and diminutions was expected

also in the case of a complete vocal or instrumental ensemble.

In that case, each part might have a slightly different function,

and be allowed or not allowed certain ornaments.

This is described in detail by Luigi Zenobi sometime at the end of the 16th century.

Check the link at footnote.

2. "Viola Bastarda".

In the case of the performance of instrumental solistic diminutions,

one is free of many of the limitations included in an ensemble performance.

Apart from keyboard or plucked instruments that are able to play all the parts of the piece by themselves,

there is the case of other instruments with a wide range.

For example, an instrument such as a bass viol

is able to jump between different parts of the piece.

Starting with one part, then jumping to another, and so on.

This was often called "Viola Bastarda",

although the practice is not necessarily exclusive to viols.

3. Extended cadences.

Just like in the much later cadenza of the late Baroque and classical period,

there are sources from the early 17th century describing a possibility

of prolonging the penultimate step of the cadence for the execution of more diminutions.

These extended cadences were often called in treatises "cadenze per finale".

So, this was the first category: taking an existing material

and hopefully enhancing it with additional notes and ornaments in performance.

The next category would be to take a certain musical material,

and to perform it several times, but every time a bit differently - with variations.

2. Performing variations based on a given melody or a harmonic sequence

Variation pieces were very common during the 16th and 17th centuries,

and in fact, remained a common musical form more or less until today.

As its concept is so beautifully simple, it is very plausible to believe

that the surviving pieces are but an example of a common practice,

where musicians were making instrumental renditions of songs or dances,

that is, improvising, according to the needs of the moment and their technical level.

The many surviving variation pieces are mostly written for keyboard or plucked instruments,

but after the turn of the 17th century one can find also such pieces for ensembles.

In Italy the form was often called partite, "parts", or "sections" if you like

and among the popular melodies there were "la monica" and "aria di firenze".

Apart from variation pieces based on given melodies,

there are others that are based on more abstract harmonic progressions.

An early example of this practice is found in Ortiz's treatise from 1553,

where he supplies a short harmonic sequence that should be

repeated on a keyboard instrument while a melodic instrument is performing variations.

Among the more popular harmonic sequences

there are the Passamezzo, Romanesca, and Passacaglia.

An example of how these written-out variation pieces are slightly different

from how we perceive a piece nowadays

is Frescobaldi's "partite sopra l'aria della Romanesca".

It is found in two different editions of his first book of toccatas, first published in 1615.

In one edition he changed and added more variations to his Romanesca.

To change a piece that was already printed once was not a common thing to do,

and he definitely didn't change anything in his toccatas.

Variation pieces however, at least at that time, had a certain flexibility connected with them,

and it is almost certain, that if Frescobaldi were here,

and we were to ask him to play a Romanesca for us,

it would be a colorful mixture of ex-tempore improvisation

and composed, or semi-composed things he had in his fingers.

In other words, the written-out Romanesca of Frescobaldi,

is just one version out of many other potential versions.

Frescobaldi lovers might add,

that it is probably the most ingenious elaborated surviving setting of the Romanesca.

Another interesting point concerning variation pieces is the transition,

that took place some decades into the 17th century, between the rather abstract

repeated harmonic sequences into the literally repeated bass patterns - the basso ostinato.

A study case of that phenomena is the passacaglia sequence.

To begin with, the Passacaglia was as abstract as possible - a certain harmonic movement,

typically with a downwards walking bass but not always,

from the first degree of the mode to the fifth degree.

A great example is, again, by Frescobaldi, in his piece for voice and basso continuo

Aria di passacaglia: Cosi mi disprezzate.

Even if modulating and containing a short recit in the middle,

the passacaglia scheme is always there.

The only thing is, that despite that, the actual bass line is constantly different,

and thus, the details of the harmonic progressions are constantly varied.

If we compare this to the famous Lamento della ninfa by Claudio Monteverdi,

in one of the later works of the composer, we see a completely different concept.

Here also there is a passacaglia, but here the bass is not varied,

it is the same four notes repeated throughout the piece.

The gradual transition into literally repeating basses

allowed easier ways of improvisation in ensemble:

when the bass is constant the upper voice or voices

are able to more securely know what they are doing.

An example for such instance is found in one of the surviving manuscripts

of Monteverdi's L'incoronazione di Poppea, where it's written at some point

"Si suona passacaglie", here a passacaglia is to be played, but no music is supplied.

The musicians however, surely improvised some nice passacaglia.

In England, pieces with literally repeated bass became very popular

during the seventeenth century and these were called grounds.

An important source for that is Christopher Simpson's

"The Art of Playing ex tempore upon a Ground" from 1659.

Improvising variations is fun, you should try it!

Now, let's have a look at a situation in which the player has

the bass line of a piece and he is expected to play more than only this line - basso continuo,

and later on, also partimento.

3. Realization of a given basso continuo part or partimento

When realizing a basso continuo one is expected to add further parts above a given bass.

It cannot be just anything,

it should be in agreement with the other written parts of the piece,

and thus, support the composition.

Except for short transitional moments, it is mostly not a place for too much fantasy,

as too much fantasy would most probably overshadow the written parts.

Agostino Agazzari, in one of the first treatises on basso continuo from 1607,

described how different instruments each have a different function when playing basso continuo.

For him, any instrument could play basso continuo; from keyboards to violins.

He suggested that different instruments may add small passaggi and ornaments,

but noted the danger of excessive creativity, that can lead to

"a mess and confusion; an unworthy and displeasing thing to the listener."

Also, he wrote that if there are several instruments playing together

they must "each await their turn and not create a racket all at once,

"seeing who can cry the loudest."

Notice how this warning includes a rather vivid description of an improvising ensemble.

Now, realizing a bass in order to support an existing composition is one thing,

but what if by playing new parts upon a bass it is possible to create new compositions?

In such a case, the bass line should more correctly be called partimento.

Partimenti were widely used only toward the end of the 17th century,

but their roots can be found already at the beginning of the century.

In Catholic Italy, organists had a big role in the liturgy,

and were expected to supply music in different parts of the different ceremonies,

either free or based on chant melodies, and in the necessary length according to the moment.

This was probably mainly improvised music.

One of the practices involved, as we shortly mentioned

in our episode about Gregorian chant, was the so-called alternatim practice,

where short organ versetti replaced the otherwise sung verses.

In order to aid beginner organists at least in part,

Adriano Banchieri in his book l'organo suonarino from 1605,

supplies bass lines with some special signs as a guide for beginner organists,

so they won't get lost when improvising the versetti.

Or more practically put, so they will start and finish

in the right note and will not confuse the singers.

Here, the organist is to realize this bass,

a bit like a basso continuo only that nothing is accompanied,

the realization is a piece for itself.

According to the rules of counterpoint,

the organist was free to play basically whatever he wanted above this bass,

but if we look more closely, Banchieri sometimes gave hints for a polyphonic fugal realization.

Here is my realization of this "Christe eleison "versetto

This concept, of supplying a bass line with or without figures,

with few or many hints to how it should be realized,

is the basic idea behind partimenti.

Partimenti became a standard way of teaching

harmony, counterpoint and improvisation, until the 19th century.

So, having a bass line of a piece,

we are able to either produce accompaniment in the case of basso continuo,

or produce a piece on its own in the case of partimenti.

What about if we were to get a specific melody,

and were requested to incorporate it as it is in our improvisation?

4. Performing pieces based on a given chant melody or an abstract soggetto

In our episode about Gregorian chant we mentioned the practice of "Cantare super librum",

where while a chant is sung as a cantus firmus

further voices are added to it by improvisation.

This practice is widely documented across Europe from the 15th to the 17th centuries,

both with mere reports about the practice

as well as descriptions in treatises for how it should be done.

The practice was very much varied in style.

Some only sang consonances homophonically with the cantus firmus,

while others sang more complex counterpoint with dissonances and canons.

Some reporters are astonished by the practice, like Antimo Liberti

who witnessed the papal singers in the mid 17th century,

and wrote that "listening to each of these educated singers

"while they compose on the spot upon a plainchant,

"that is, making contrapunto alla mente with noble harmony

"as if it were written down and composed in advance,

"provokes at the same time wonder and sweetness."

However, as each singer can only be sure of the cantus firmus,

and cannot know for sure what the other voices will sing,

mistakes and awkward moments were inevitable.

Thus, this practice was often considered as "not much approved by the learned",

and Nicola Vicentino wrote that he prefers

the pieces to be composed and not improvised, so to avoid errors.

Regardless the varying quality, styles, and criticism,

this practice was very prominent, and demanded that

each singer should practice and know counterpoint very well.

A procedure that is somewhat similar but is performed by a single improviser,

was one of the daily tasks of a church organist.

In many instances, he was expected to incorporate liturgical chants in his pieces;

especially in context of the alternatim, but also in other cases.

This included little versetti, that according to surviving examples

could be in different styles, but often involving imitation.

At this point, it is hard not to mention Frescobaldi once again,

with his beautiful versetti from Fiori musicali.

But the incorporation of given melodies didn't end with little versetti,

longer and more complex fantasias and ricercars

were also sometimes based on liturgical materials and improvised on the spot.

For example, in the entrance exams to become an organist

in Venice's San Marco in the 16th century, exactly such a task was given:

based on some selected Kyrie or another liturgical melody

the candidate was expected to improvise a four part fantasia,

with clear parts, "as if it were four singers performing".

Stemming from the beginning of the 16th century,

the genre of the fantasia was very popular,

both in written form but also in reports of live improvisations.

A close relative of the genre is the ricercar, also called fugue in certain areas.

In some circles ricercar and fantasia have distinct differences

but in others they are synonyms, as for example

in the case of the praised lutenist Francesco da Milano.

In any case, both the fantasia and ricercar typically include

fugal writing and sometimes very sophisticated counterpoint and varying meters.

An important treatise in general, but especially in this regard,

is Santa Maria's "Arte de Tañer Fantasia", "The Art of Playing Fantasia."

Notice that it's not "the art of composing or improvising fantasia",

the verb "playing", according to Santa Maria,

includes both composing and improvising, and not merely "executing".

A last point concerning the fantasia:

note that this kind of pieces have no text.

This is an important point, as the rules for how to set text

in vocal music in the 16th century were probably more strict than in any other period.

So, working without a text was a great way to explore

contrapuntal imitative technique in a way, that was on the one hand

advanced and comprehensive, and on the other hand,

free of the limiting requirement of setting a text.

Improvising complex fugal polyphonic pieces based on a given theme

may be considered as the height of this art,

that was definitely possessed by the great players of

keyboard and plucked instruments of the 16th and 17th century.

Let's continue to the last category of improvisation.

5. Performing free pieces with only a given mode or affect or nothing whatsoever

When a vocal piece is performed, whether in church or otherwise,

it is often necessary to have before it a little musical introduction, or "intonation",

to establish the mode of the piece, so the singers could easily find their notes.

When such a piece is required, the only given musical element is the mode

The rest is up to the player.

When these preludes were rather short they were called "intonations",

but when they were longer they were commonly called toccatas.

Here is how Praetorius defines it:

"a toccata is a prelude played by an organist when he first sits down at the keyboard,

"before he begins the motet or fugue.

"It is invented on the spot with simple individual chords and diminutions.

"Each player has his own manner of executing it."

Indeed, the countless examples of written-out toccatas

from the from the different countries and different decades

are very often filled with virtuosic diminutions.

Despite of the vast examples of written toccatas we have,

the great masters who composed them

were most probably improvising them as part of their daily duties.

We are told by a French musician visiting Rome,

that while Frescobaldi's "printed works render sufficient evidence of his skill,

"to judge his profound knowledge adequately you must hear him

"as he improvises toccatas full of refinement and admirable inventions."

In some cases, it is not the mode that is given to the improviser,

but a specific affect.

This is the case for example in the Catholic elevatione,

a part in the liturgy where the blessed sacrament is elevated by the priest.

Then, the congregation is expected to contemplate the suffering of Christ,

and this should be expressed musically with harsh musical means:

with a harsh mode, most often some mi mode,

harsh dissonances, many sharps etc.

This can be seen in many examples of written-out toccate per elevatione.

There are however instances,

where the player is not bound to anything whatsoever,

and can improvise in anyway he fancies.

This was our introduction to improvisation around 1600, we hope you enjoyed it!

Don't forget to check the special page on our website

with all the footnotes and extra information.

Feel free to comment, share, and like, and see you next time at EMS.com.

For more infomation >> Improvisation around 1600 - Introduction - Duration: 23:04.

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Vlog 8 - Helsinki - Duration: 10:35.

Yo everyone

It's 5:45

Feels weird to wake up that early...

Today we go to Helsinki

The bus leaves at...

7:00 from school.

So in 1 hour an a quarter we go.

Well, let's go !

We're going to make an organized Hesinki tour.

There are two planned visits.

Yes, it's 6:00, I'm tired.

And... Maxime is sleeping.

You will see that...

So that's how it feels...

...to be surprised.

Weather's good !

I was checking if she was recording.

Maxime suffering a lack of inspiration...

What, is it possible ?

Maxime who doesn't say anything in front of a camera ? No...

Hey, here we are, we arrived. It was quite long.

4 hours in the bus

With not much space to sleep...

Yeah, but the landscapes were wonderfull.

We're separated in 4 groups

We, obviously, are in the Erasmus group

with an English speaking guide

For us to understand.

So we arrived in the EMMA museum.

Which is, in fact, a group of 4 different art museums.

Well we will see that immediately, we don't really know what to expect...

We have a 1 hour visiting tour

Then an hour when we'll be free to visit, do what we want.

Voila, it will be cool.

After that, lunch break at 1:00pm.

It's... super... weird...

As I told you a bit earlier

There are 4 different museums

In the same building.

So now we're going to enter a small toy museum.

So, like every old toys, there are always super nice stuff you want to give to your children.

Well... Time to pee ?

We've been told the toilets are a jungle, we'll discover them with you...

That kind of toilets...

Voila

When it snows here, it's not bullshitting...

It's snowing horizontaly !

Look

Yeah, we're not in the clouds at all

We're on the highway.

Oh fuck...

Alright. We're in the second museum.

It's really weird as a museum

First it looks like a gallery

But not any gallery, it looks like...

...an "Art Supermarket"...

Look

There's everything.

So it's not highlighted.

Everything's side by side, you come, you buy, all prices are shown.

It's really...

...special.

So there are cool stuff.

Some far less cool stuff.

Everything's very expensive.

Nothing is highlighted.

Everything is put a bit randomly...

Well I'll finish my little tour.

Ok, shot changing, now we are

in a photographs exhibition.

About sharing food in the world, how we farm, and stuff.

Tireness is felt.

We have free lockers at our disposal.

Here we are, well back.

We're exhausted, it was really awesome : a true Fine Art trip.

Yeah, we visited a lot of exhibitions, museums

We paid 20 euros at the begginning of the morning

in the bus and that was it.

We visited many galleries after the museums.

It was really cool, interesting.

More or less good stuff to see.

Great art.

See you soon in a next video.

Subscribe.

For more infomation >> Vlog 8 - Helsinki - Duration: 10:35.

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LE ROCK DES BLOCS - Mauvaise décision 🎵 - Duration: 1:56.

For more infomation >> LE ROCK DES BLOCS - Mauvaise décision 🎵 - Duration: 1:56.

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Hướng dẫn Quay đá Quý Bất ngờ ra đá xanh - Thoại pipo - Duration: 1:42.

For more infomation >> Hướng dẫn Quay đá Quý Bất ngờ ra đá xanh - Thoại pipo - Duration: 1:42.

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Dragons | Blender Speedrender - Duration: 4:13.

Hello there! This is SIMUS from SIMUS Film Entertainment with a new Speedrender Video!

After I`ve recently seen the Hobbit Trilogy I thought, it would be cool to make

a Speedrender Video themed around dragons.

Unfortunately, there`s only one dragon in Minecraft...

...namely the Ender Dragon!

So I took the rig of the Ender Dragon and started modifying the textures.

And whilst you watch me modifying the Ender Dragon...

...I wanted to say thank you.

Because, as you may have noticed, SIMUS Film Entertainment hit 100 Subscribers last week...

...meaning that I finally got a custom URL:

youtube.com/SIMUSFilmEntertainment

I was incredibly excited about that and so, so, so happy that there are finally things going on in terms of my subscriber rate!

So: THANK YOU!

For more infomation >> Dragons | Blender Speedrender - Duration: 4:13.

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Funny Videos 2018 || People Doing Stupid Things -p32 - Duration: 4:30.

Funny Videos 2018

For more infomation >> Funny Videos 2018 || People Doing Stupid Things -p32 - Duration: 4:30.

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Two Koreas to play basketball this week as cooperation ramps up - Duration: 2:24.

Following the series of high-level and working-level talks held between the two Koreas last month...

more inter-Korean meetings are lined up this week as well.

Representatives of Seoul and Pyongyang are meeting to discuss cooperation in various

fields ranging from sports, forestry, infrastructure and preparations for reunions of families

separated by the Korean War.

Cha Sang-mi reports.

Seoul and Pyongyang have been extremely busy since their landmark summit in April, and

efforts to follow through on the Panmunjom Declaration are continuing in July.

A hundred-member South Korean delegation led by the nation's unification minister Cho Myoung-gyon

is heading to Pyongyang on Tuesday for four inter-Korean basketball games scheduled for

Wednesday and Thursday.

The group includes Minister Cho, four other government officials, 50 male and female basketball

players and a panel of referees, 30 members of the press, and 15 staff.

This will be the fourth time the two Koreas haved played basketball together; the last

time was 15 years ago in 2003.

Seoul and Pyongyang had agreed to hold the friendlies while discussing sports cooperation

last month.

At those talks, they also decided to field a joint women's basketball team at the upcoming

2018 Asian Games in Indonesia in August.

Come Wednesday, the two Koreas will also sit down to discuss forestation projects.

Ryu Kwang-soo, vice minister of the South Korean Forest Service and two other officials

will meet their North Korean counterparts and discuss ways to tackle the degradation

of forests in the North by overlogging and farming.

The forestation task force was the first to be launched after the April 27th Panmunjom

summit,...

South Korea's presidential office deeming forestation the most urgent thing.

Meanwhile, discussions continue on infrastructure.

The joint inspections of the Gyeongui Road linking Seoul and the North Korean city of

Sinuiju and the Donghae Road along the Peninsula's east coast will begin in mid-July.

Preparations also continue for reunions of families separated by the Korean War.

Those are scheduled for a week starting August 20th at the North's Mount Kumkang resort.

On July 25th, the South and North will exchange lists of people who'll possibly attend the

reunions.

But first, the South Korean government will narrow them down to 250 people out of an initial

500 that were selected.

Once the lists are exchanged, they'll come up with a final list of participants -- a

hundred from each side -- by August 4th.

Cha Sang-mi, Arirang News.

For more infomation >> Two Koreas to play basketball this week as cooperation ramps up - Duration: 2:24.

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Prompt Announcement: July 2018 - Duration: 0:58.

It's the first of July, that means it is time for a new prompt.

And the prompt for this month is

Last Summer.

And just like last month we're adding a little challenge as well that is an optional extra

if you would like to.

And the challenge for this month is to film something outside.

That can be rather intimidating, especially if you are making something entirely on your

own but try and leave our comfort zones a little bit.

I'm nervous about this too.

[laughs].

Usual rules apply.

Keep the video below three minutes, upload it to a YouTube channel, send us the link

to it either in the comments of this video or on our twitter which is @FilmPromptSoc

and we will discuss everyone's films in a livestream at the end of the month.

The full list of rules will be down in the description.

And of course we need the date for the livestream to discuss June's videos so that is going

to be at 5pm on the 8th of July which is a Sunday.

Not doing a Saturday this time, we're gonna try Sunday and see how that goes.

Have fun making your films and hopefully I will see you on the 8th of July for the live stream

For more infomation >> Prompt Announcement: July 2018 - Duration: 0:58.

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Prematal ( Bindu Ami ) by Tahsan | প্রেমাতাল | Lyrical Video | English Subtitle - Duration: 4:28.

E jeno shohoj shikarokti ami jugantori noi

E jeno bhishon akkhep amar ami dig bijoyi noi

Shudhu ektai asha ami buke joriye

Robo sharati jibon tomay niye

Kono ek nishongo rodela raate dekhechi

Priyotoma tomar chokhe mishti hashi

Kono ek dushshoho jochona dine bati nibhe gele

Kora nerechi tomar haater ghore

Kichu orthohin shobdo bune dekechi tomay

Prem tumi kothay...

Bindu ami tumi amay ghire Britter bhetor shudu tumi acho

Matal ami tomar preme Tai orthohin shob e je prem lage

Bindu ami tumi amay ghire Britter bhetor shudu tumi acho

Matal ami tomar preme Tai orthohin shob e je prem lage

Prem niye koto shoto kobi koto kabbo korlo

Brithai jibonta kada makhamakhi kore osru ghum paralo

Bhebechilam nijeke sroter biporite ekjon

Prem niye matamati shudhui adikkhetar

Keno tumi shonale shei dushtu hashi

Keno duralapone shei mishti kobita

Keno tumi shonale shei mishti hashi

Keno duralapone shei mishti kobita

Aaj shikol poriye aamar chokhe tumi prem aakcho

Kadte parchi na ami...

Bindu ami tumi amay ghire Britter bhetor shudu tumi acho

Matal ami tomar preme Tai orthohin shob e je prem lage

Brihoshpotir boloy ghire shonite Aaj ami pouche gechi

Tomar premer pagol hoye paaglamir Bhabshomprosharon korechi

Bindu aami tumi amay ghire Britter vetor shudu tumi acho

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