Bedworth is a market town in the borough of Nuneaton and Bedworth, England. It is situated between Coventry, 6 miles to the south, Nuneaton, 3.5 miles to the north. In the 2011 census the town had a population of 30,438. Bedworth lies 101 miles northwest of London, 19 miles east of Birmingham and 17 miles north northeast of the county town of Warwick. Bedworth has six main suburban districts, namely Collycroft, Mount Pleasant, Bedworth Heath, Coalpit Field, Goodyers End and Exhall. Exhall is a generic name for the area surrounding junction 3 of the M6 motorway, comprising parts of both Bedworth and Coventry. Much of what is now considered Exhall within south Bedworth is referred to as Hayes Green by locals and on older maps of the area; the River Sowe rises in Bedworth flowing through Exhall and eastern Coventry and Stoneleigh, before joining the River Avon south of Stoneleigh. A small market town with Saxon origins, Bedworth was mentioned in the Domesday Book of 1086. Bedworth developed into an industrial town in the 18th and 19th centuries, due to coal mining and the overspill of ribbon weaving and textile industries from nearby Coventry.
The ribbon weaving industry had been introduced to the area by French Hugenot immigrants in the 18th century and thrived for nearly a century, until it was wiped out in the 1860s following the Cobden–Chevalier Treaty which removed tariffs on imported French silks, causing enormous hardship to the town. Hat making however grew and replaced the ribbon trade, lasted until the 1950s; the opening of the Coventry Canal in 1789 and the railway in 1850 enhanced the town's growth. Bedworth was for many years a coal mining town: Located on the Warwickshire Coalfield, coal mining in the area was recorded as early as the 13th century; the industry peaked in 1939 when there were 20 pits in the Bedworth area producing over 5.8 million tons of coal. The last colliery in Bedworth, Newdigate Colliery closed in 1982, Coventry Colliery on the edge of the town closed in 1991. In the middle of the 19th century, the large number of public houses, thirsty miners lead to the town being called'Black Bedworth'. From 1894 Bedworth was a civil parish within the Foleshill Rural District.
In 1928 Bedworth was incorporated as an urban district in its own right. In 1932 the urban district was enlarged by the addition of Exhall and parts of Foleshill and Walsgrave on Sowe parishes, it was further enlarged in 1938 by the addition of Bulkington. In 1974 the Bedworth Urban District was merged with the borough of Nuneaton to create the borough of Nuneaton and Bedworth; the most notable buildings in Bedworth are the Nicholas Chamberlaine Almshouses on All Saints' Square in the town centre, which are built in Tudor style and date from 1840, having been funded by a legacy from the local benefactor Nicholas Chamberlaine through his will. The almshouses were restored in the 1980s, are now Grade II* listed; the majority of the town centre was redeveloped in the 1960s and early-1970s, has the typical architecture of that period. The town centre itself contains some of the usual high street retail names as well as many charity shops, card shops and banks; the main venue in Bedworth is the Bedworth Civic Hall which opened in 1973 and has an attached arts centre.
South of the town centre is the Miners' Welfare Park, which opened in 1923 to provide a recreation space for miners and their families. Now managed by the local council it includes playing fields, sports facilities and gardens; the former Bedworth water tower is the most noticeable landmark building in Bedworth. It had a 60,000 gallon water tank, but became obsolete in 1988, when a new water mains was installed into Bedworth; the tower was home to a pair of peregrine falcons in 2006. In 2015 it was sold to be converted into six luxury apartments. Along Mill Street until were rows of former weavers' cottages which were once inhabited by Huguenot weavers; some of these were still used as shops. They have been demolished as part of the redevelopment of Tesco. Domestic appliance insurer Domestic & General has offices in the town centre and provides substantial employment for the community. Several years ago Bedworth Kwik Save, was redeveloped into a new Aldi store. Next to it is a Home Bargains store.
Tesco was in a similar type of building to Kwik Save, but in a brick-faced and arched windowed 1970s style, closed in January 2011, was redeveloped into a steel-framed Tesco Xtra store. Parking is at ground level, the store is on the first floor, with delivery access up a ramp to the first floor, it opened on 5 December 2011. Bedworth has many pubs and working men's clubs: among others, the Bear and Ragged Staff, the White Horse, the Miners Arms, the Mount Pleasant, the Black Horse, the Black Bank, Saunders Hall, Collycroft Working Men's Club, Bedworth Liberal Club, Bedworth Conservative Club, the Griffin Inn, the Newdigate Arms, the Cross Keys, the Royal Oak, the Prince of Wales, JB's and Littleworks. Several others have closed. Bedworth has a skate park built in the Miners' Welfare Park in 2001 after campaigning by local youngsters. Most youngsters would skate in the town centre, or in the market area, much to the annoyance of residents and the local police. A new play area, on the site of the previous aviary and paddling pool near
The double bass, or the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is a standard member of the orchestra's string section, as well as the concert band, is featured in concertos and chamber music in Western classical music; the bass is used in a range of other genres, such as jazz, 1950s-style blues and rock and roll, psychobilly, traditional country music, bluegrass and many types of folk music. The bass is a transposing instrument and is notated one octave higher than tuned to avoid excessive ledger lines below the staff; the double bass is the only modern bowed string instrument, tuned in fourths, rather than fifths, with strings tuned to E1, A1, D2 and G2. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family; however the body shape where it curves into the neck matches the viol family whereas in the rest of the violin family, the body meets the neck with no blending curve.
The double bass is played by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm. Classical music uses the natural sound produced acoustically by the instrument, as does traditional bluegrass. In jazz and related genres, the bass is amplified; the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4, which serve to accommodate a player's height and hand size; these sizes do not reflect the size relative to 4⁄4 bass. It is constructed from several types of wood, including maple for the back, spruce for the top, ebony for the fingerboard, it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it embodies features found in the older viol family. Like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings.
In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz and rockabilly, pizzicato is the norm, except for some solos and occasional written parts in modern jazz that call for bowing. In classical pedagogy all of the focus is on performing with the bow and producing a good bowed tone. Bowed notes in the lowest register of the instrument produce a dark, mighty, or menacing effect, when played with a fortissimo dynamic. Classical bass students learn all of the different bow articulations used by other string section players, such as détaché, staccato, martelé, sul ponticello, sul tasto, tremolo and sautillé; some of these articulations can be combined. Classical bass players do play pizzicato parts in orchestra, but these parts require simple notes, rather than rapid passages. Classical players perform both bowed and pizz notes using vibrato, an effect created by rocking or quivering the left hand finger, contacting the string, which transfers an undulation in pitch to the tone.
Vibrato is used to add expression to string playing. In general loud, low-register passages are played with little or no vibrato, as the main goal with low pitches is to provide a clear fundamental bass for the string section. Mid- and higher-register melodies are played with more vibrato; the speed and intensity of the vibrato is varied by the performer for an emotional and musical effect. In jazz and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play rapid pizzicato walking basslines for extended periods; as well and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. Pizzicato basslines performed by leading jazz professionals are much more difficult than the pizzicato basslines that Classical bassists encounter in the standard orchestral literature, which are whole notes, half notes, quarter notes, occasional eighth note passages.
In jazz and related styles, bassists add semi-percussive "ghost notes" into basslines, to add to the rhythmic feel and to add fills to a bassline. The double bass player stands, or sits on a high stool, leans the instrument against their body, turned inward to put the strings comfortably in reach; this stance is a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family—the narrower shoulders facilitate playing the strings in their higher registers. The double bass is regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, as such has been described as a bass Violin. Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family; the double bass's proportions are di
From Hank, Bruce, Brian and John
From Hank, Bruce and John is the seventh rock album by British instrumental group The Shadows, released in 1967. It was the last album to be issued in both mono as well as stereo. Hank Marvin – Lead guitar and vocals Bruce Welch – Rhythm guitar and vocals John Rostill – Bass guitar and vocals Brian Bennett – Drums and percussion Alan Hawkshaw - Organ Olivia Newton-John - Guest vocals on "The Day I Met Marie" Norrie Paramor - Producer Peter Vince - Engineer
Warwickshire is a landlocked county in the West Midlands region of England. The county town is Warwick; the county is famous for being the birthplace of William Shakespeare. The county is divided into five districts of North Warwickshire and Bedworth, Rugby and Stratford-on-Avon; the current county boundaries were set in 1974 by the Local Government Act 1972. The historic county boundaries include Solihull, as well as much of Birmingham; the county is bordered by Leicestershire to the northeast, Staffordshire to the northwest and the West Midlands to the west, Northamptonshire to the east and southeast, Gloucestershire to the southwest and Oxfordshire to the south. The northern tip of the county is only 3 miles from the Derbyshire border. An average-sized English county covering an area of 2,000 km2, it runs some 60 miles north to south. Equivalently it extends as far north as Shrewsbury in Shropshire and as far south as Banbury in north Oxfordshire; the majority of Warwickshire's population live in the centre of the county.
The market towns of northern and eastern Warwickshire were industrialised in the 19th century, include Atherstone, Bedworth and Rugby. Of these, Atherstone has retained most of its original character. Major industries included coal mining, textiles and cement production, but heavy industry is in decline, being replaced by distribution centres, light to medium industry and services. Of the northern and eastern towns, only Nuneaton and Rugby are well known outside of Warwickshire; the prosperous towns of central and western Warwickshire including Royal Leamington Spa, Stratford-upon-Avon, Alcester and Wellesbourne harbour light to medium industries and tourism as major employment sectors. The north of the county, bordering Staffordshire and Leicestershire, is mildly undulating countryside and the northernmost village, No Man's Heath, is only 34 miles south of the Peak District National Park's southernmost point; the south of the county is rural and sparsely populated, includes a small area of the Cotswolds, at the border with northeast Gloucestershire.
The plain between the outlying Cotswolds and the Edgehill escarpment is known as the Vale of Red Horse. The only town in the south of Warwickshire is Shipston-on-Stour; the highest point in the county, at 261 m, is Ebrington Hill, again on the border with Gloucestershire, grid reference SP187426 at the county's southwest extremity. There are no cities in Warwickshire since both Coventry and Birmingham were incorporated into the West Midlands county in 1974 and are now metropolitan authorities in themselves; the largest towns in Warwickshire in 2011 were: Nuneaton, Leamington Spa, Warwick and Kenilworth. Much of western Warwickshire, including that area now forming part of Coventry and Birmingham, was covered by the ancient Forest of Arden, thus the names of a number of places in the central-western part of Warwickshire end with the phrase "-in-Arden", such as Henley-in-Arden, Hampton-in-Arden and Tanworth-in-Arden. The remaining area, not part of the forest, was called the Felden – from fielden.
Areas part of Warwickshire include Coventry, Sutton Coldfield and some of Birmingham including Aston and Edgbaston. These became part of the metropolitan county of West Midlands following local government re-organisation in 1974. In 1986 the West Midlands County Council was abolished and Birmingham and Solihull became effective unitary authorities, however the West Midlands county name has not been altogether abolished, still exists for ceremonial purposes, so the town and two cities remain outside Warwickshire; some organisations, such as Warwickshire County Cricket Club, based in Edgbaston, in Birmingham, still observe the historic county boundaries. The flag of the historic county was registered in October 2016, it is a design of a bear and ragged staff on a red field, long associated with the county. Coventry is in the centre of the Warwickshire area, still has strong ties with the county. Coventry and Warwickshire are sometimes treated as a single area and share a single Chamber of Commerce and BBC Local Radio Station.
Coventry has been a part of Warwickshire for only some of its history. In 1451 Coventry was separated from Warwickshire and made a county corporate in its own right, called the County of the City of Coventry. In 1842 the county of Coventry was abolished and Coventry was remerged with Warwickshire. In recent times, there have been calls to formally re-introduce Coventry into Warwickshire, although nothing has yet come of this; the county's population would increase by a third-of-a-million overnight should this occur, Coventry being the UK's 11th largest city. The town of Tamworth was divided between Warwickshire and Staffordshire, but since 1888 has been in Staffordshire. In 1931, Warwickshire gained the town of Shipston-on-Stour from Worcestershire and several villages, including Long Marston and Welford-on-Avon, from Gloucestershire. Warwickshire contains a large expanse of green belt area, surrounding the West Midlands and Coventry conurbations, was first drawn up from the 1950s. All the county's districts contain some portion of the belt.
The following towns and villages in Warwickshire have populations of over 5,000. Warwickshire came into being as a divisio
Rockin' with Curly Leads
Rockin' with Curly Leads is the ninth rock album by British instrumental group The Shadows, released in 1973 through Columbia. Hank Marvin - Electric and acoustic guitars Bruce Welch - Electric and acoustic guitars John Farrar - Electric and acoustic guitars Brian Bennett - Drums and piano Alan Tarney - Bass guitar
Mark Griffiths is a British bassist who toured with Neil Innes in his touring ensemble of the fictional Beatles parody the Rutles where he performs Rutles songs and other songs from his career such as his songs from the Bonzo Dog Doo-Dah Band. He plays with Cliff Richard's backing band and with the Shadows. Mark Griffiths discography at Discogs
The clarinet is a family of woodwind instruments. It has a single-reed mouthpiece, a straight, cylindrical tube with an cylindrical bore, a flared bell. A person who plays a clarinet is called a clarinetist. While the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. During the Late Baroque era, composers such as Bach and Handel were making new demands on the skills of their trumpeters, who were required to play difficult melodic passages in the high, or as it came to be called, clarion register. Since the trumpets of this time had no valves or pistons, melodic passages would require the use of the highest part of the trumpet's range, where the harmonics were close enough together to produce scales of adjacent notes as opposed to the gapped scales or arpeggios of the lower register; the trumpet parts that required this specialty were known by the term clarino and this in turn came to apply to the musicians themselves.
It is probable that the term clarinet may stem from the diminutive version of the'clarion' or'clarino' and it has been suggested that clarino players may have helped themselves out by playing difficult passages on these newly developed "mock trumpets". Johann Christoph Denner is believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the playability. In modern times, the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a semitone lower, is used in orchestral music. An orchestral clarinetist must own both a clarinet in A and B♭ since the repertoire is divided evenly between the two. Since the middle of the 19th century the bass clarinet has become an essential addition to the orchestra; the clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet. The clarinet has proved to be an exceptionally flexible instrument, used in the classical repertoire as in concert bands, military bands, marching bands, klezmer and other styles.
The word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, "oboe". It would seem however that its real roots are to be found amongst some of the various names for trumpets used around the Renaissance and Baroque eras. Clarion and the Italian clarino are all derived from the medieval term claro which referred to an early form of trumpet; this is the origin of the Italian clarinetto, itself a diminutive of clarino, of the European equivalents such as clarinette in French or the German Klarinette. According to Johann Gottfried Walther, writing in 1732, the reason for the name is that "it sounded from far off not unlike a trumpet"; the English form clarinet is found as early as 1733, the now-archaic clarionet appears from 1784 until the early years of the 20th century. The cylindrical bore is responsible for the clarinet's distinctive timbre, which varies between its three main registers, known as the chalumeau and altissimo; the tone quality can vary with the clarinetist, instrument and reed.
The differences in instruments and geographical isolation of clarinetists led to the development from the last part of the 18th century onwards of several different schools of playing. The most prominent were French school; the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of playing available; the modern clarinetist has a diverse palette of "acceptable" tone qualities to choose from. The A and B ♭ clarinets use the same mouthpiece. Orchestral clarinetists using the A and B♭ instruments in a concert could use the same mouthpiece; the A and B♭ have nearly identical tonal quality, although the A has a warmer sound. The tone of the E♭ clarinet is brighter and can be heard through loud orchestral or concert band textures; the bass clarinet has a characteristically deep, mellow sound, while the alto clarinet is similar in tone to the bass. Clarinets have the largest pitch range of common woodwinds; the intricate key organization that makes this possible can make the playability of some passages awkward.
The bottom of the clarinet's written range is defined by the keywork on each instrument, standard keywork schemes allowing a low E on the common B♭ clarinet. The lowest concert pitch depends on the transposition of the instrument in question; the nominal highest note of the B♭ clarinet is a semitone higher than the highest note of the oboe. Since the clarinet has a wider range of notes, the lowest note of the B♭ clarinet is deeper than the lowest note of the oboe. Nearly all soprano and piccolo clarinets have keywork enabling them to play the E below middle C as their lowest written note, though some B♭ clarinets go down to E♭3 to enable them to match the range of the A clarinet. On the B♭ soprano clarinet, the concert pitch of the lowest note is D3, a whole tone lower than the written pitch. Most alto and bass clarinets have an extra key to allow a E♭3. Modern professional-quality bass clarinets have additional keywork to written C3. Among the less encountered members of t