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Rhythm guitar

In music performances, rhythm guitar is a technique and role that performs a combination of two functions: to provide all or part of the rhythmic pulse in conjunction with other instruments from the rhythm section. Therefore, the basic technique of rhythm guitar is to hold down a series of chords with the fretting hand while strumming or fingerpicking rhythmically with the other hand. More developed rhythm techniques include arpeggios, riffs, chord solos, complex strums. In ensembles or bands playing within the acoustic, blues, rock or metal genres, a guitarist playing the rhythm part of a composition plays the role of supporting the melodic lines and improvised solos played on the lead instrument or instruments, be they strings, brass, keyboard or percussion instruments, or the human voice, in the sense of playing throughout the piece, whereas lead instruments and singers switch between carrying the main or countermelody and falling silent. In big band music, the guitarist is considered part of the rhythm section, alongside bass and drums.

In some musical situations, such as a solo singer-guitarist, the guitar accompaniment provides all the rhythmic drive. Rhythm guitar can supply all of the harmonic input to a singer-guitarist or small band, but in ensembles that have other harmony instruments or vocal harmonists, its harmonic input will be less important. In the most commercially available and consumed genres, electric guitars tend to dominate their acoustic cousins in both the recording studio and live venues; however the acoustic guitar remains a popular choice in country and bluegrass music, exclusively in folk music. Most rhythms in rock and blues are based on 4/4 time with a backbeat. A backbeat is a syncopated accentuation on the "off" beat. In a simple 4/4 rhythm these are beats 2 and 4. Emphasized back beat, a feature of some African styles, defined rhythm and blues recordings in the late 1940s and so became one of the defining characteristics of rock and roll and much of contemporary popular music. While rhythm guitarists may in some cases perform a part composed by an arranger or by the composer of a song, like the other members of the rhythm section, are expected to be able to improvise or prepare their own part to fit a given song.

This requires rhythm guitarists to have a good knowledge of how to use chord voicings and fills that suit the style of a given song. Harmonically, in rock music, the most common way to construct chord progressions is to play major and minor "triads", each comprising a root and fifth note of a given scale. An example of a major triad is C major, which contains the notes C, E and G. An example of a minor triad is the A minor chord, which includes the notes A, C and E. Interspersed are some four-note chords, which include the root and fifth, as well as a sixth, seventh or ninth note of the scale; the most common chord with four different notes is the dominant seventh chord, which include a root, a major third above the root, a perfect fifth above the root and a flattened seventh. In the key of C major, the dominant seventh chord is a G7, which consists of the notes G, B, D and F. Three-chord progressions are common in earlier pop and rock, using various combinations of the I, IV and V chords, with the twelve-bar blues common.

A four chord progression popular in the 1950s is I-vi-ii-V, which in the key of C major is the chords C major, a minor, d minor and G7. Minor and modal chord progressions such as I-bVII-bVI feature in popular music. In heavy metal music, rhythm guitarists play power chords, which feature a root note and a fifth above, or with an octave doubling the root. There is no third of the chord. Power chords are played with distortion. One departure from the basic strummed chord technique is to play arpeggios, i.e. to play individual notes in a chord separately. If this is done enough, listeners will still hear the sequence as harmony rather than melody. Arpeggiation is used in folk and heavy metal, sometimes in imitation of older banjo technique, it is prominent in 1960s pop, such as The Animals' "House of the Rising Sun", jangle pop from the 1980s onwards. Rhythm guitarists who use arpeggio favor semi-acoustic guitars and twelve string guitars to get bright, undistorted "jangly" sound; the Soukous band TPOK Jazz additionally featured the unique role of mi-solo, playing arpeggio patterns and filling a role "between" the lead and rhythm guitars.

In some cases, the chord progression is implied with a simplified sequence of two or three notes, sometimes called a "riff". That sequence is repeated throughout the composition. In heavy metal music, this is expanded to more complex sequences comprising a combination of chords, single notes and palm muting; the rhythm guitar part in compositions performed by more technically oriented bands include riffs employing complex lead guitar techniques. In some genres metal, the audio signal from the rhythm guitar's output is subsequently distorted by overdriving the guitar's amplifier to create a thicker, "crunchier" sound for the palm-muted rhythms. In bands with two or more guitarists, the guitarists may exchange or duplicate roles for various songs or several sections within a song. In those with a single guitarist, the guitarist

Komi Kebir

Komi Kebir is a village in the Famagusta District of Cyprus, located on the Karpas Peninsula, 33 kilometres north of Famagusta, at an altitude of 90 metres. Komi Kebir is under the de facto control of Northern Cyprus; as of 2011, it had a population of 812. Before 1974, Komi Kebir was inhabited both by Greek- and Turkish Cypriots; the Greek Cypriots constituted the majority. In 1973, an estimated 762 people were living in the village, of whom 200 were Turkish- and 562 Greek-Cypriot. 66 students were enrolled at the Greek-Cypriot primary school for the academic year of 1973–74. At the borders of the village, there are the churches of Saint George, Saint Afksentios and Saint Loukas. There are the ancient churches of Panagia Kira, Saint George Parouzos, Saint Vasilios, Saint Photiou and Saint Katherine

Sanggau Regency

Sanggau Regency is a regency in West Kalimantan province of Indonesia. It is situated in the north-central part of the province, with an area of 12,857.80 km² and a population of 408,468 at the 2010 Census. Alongside Landak Regency, Sekadau Regency, Sintang Regency, Sanggau is one of the four West Kalimantan regencies that are predominantly Catholic. Sanggau Regency consists of fifteen districts, tabulated below with their populations at the 2010 Census and their administrative centres: Dayak Bidayuh, in kecamatan of Kembayan, Noyan and Jangkang Dayak Mali, in kecamatan of Balai, Tayan Hulu, Tayan Hilir, Simpang dua, Noyan. Dayak Desa, in kecamatan of Toba. Dayak Ribun, in kecamatan of Tayan Hulu and Parindu. Dayak Iban, in the area around Indonesia-Malaysia border. Chinese, spread across in the regency. Malay, spread across in the regency. Others: Javanese, Batak and Bugis. Riam Macan Pancur Aji Sipatn Lotup Penyeladi Laverna Roads in Sanggau are pretty narrow and not well paved due to the limitation of government budget.

In certain areas, the road is in pretty poor condition with many holes and muddy along the road. The main road linking Pontianak with Kuching and other cities in Sarawak, Malaysia goes through Sanggau where the main Indonesia-Malaysia land border crossing is located at Entikong. There are two main rivers flowing through Sanggau, they are the Sekayam river. Water transportation remains the popular choice among the people who live in small villages / remote areas which are not accessible by road. In addition, it is used for distributing goods such as foods, etc; the following are the popular methods for water transportation: Sampan Barge Motorboat There is no airport in Sanggau regency, hence the nearest gateways are Supadio Airport and Kuching International Airport. Roman Catholic Diocese of Sanggau Official Sanggau Regency Sanggau on Maplandia Sanggau on VirtualTourist Diocese of Sanggau Diocese of Sanggau

Place Castellane

The Place Castellane is a historic square in the 6th arrondissement of Marseille, Bouches-du-Rhône, France. It was built in 1774; the square was named for Henri-César de Castellane-Majastre, an aristocrat who donated the land for its construction in 1774. A fountain with an obelisk used as a lavoir was built in the middle of the square in 1798. In 1911, the obelisk was relocated to Mazargues. Meanwhile, Jules Cantini donated a new fountain, designed by sculptor André-Joseph Allar; the fountain, completed in 1913, represents three Provençal rivers: the Durance, the Gardon, the Rhône. The square, with the original obelisk, is mentioned by Joseph Conrad in his 1919 novel entitled The Arrow of Gold

Little Angels Children's Folk Ballet of Korea

The Little Angels Children’s Folk Ballet of Korea is a dance troupe founded in 1962 by Sun Myung Moon, the founder of the Unification Church, to project a positive image of South Korea to the world. In 1973 they performed at the United Nations Headquarters in New York City; the group’s dances are based on Korean legends and regional dances, its costumes on traditional Korean styles. Choral singing by the troupe in many languages is featured. In 2010 the Little Angels traveled to the United States to commemorate the 60th anniversary of the Korean War; this was sponsored by the Korean War 60th Anniversary Memorial Committee, whose chairman, Bo Hi Pak, is the president of the Little Angels. That year they traveled to the other 15 nations that had sent troops to support South Korea in the United Nations force; the Little Angels are supported financially by the Tongil Group, a South Korean business group associated with the Unification Church, through the Tongil Foundation. Korean dance Korean War 60th Anniversary Memorial

HMS Waldegrave (K579)

The second HMS Waldegrave, the first to enter service, was a British Captain-class frigate of the Royal Navy in commission during World War II. Constructed as a United States Navy Buckley class destroyer escort, she served in the Royal Navy from 1944 to 1945; the ship was laid down as the unnamed U. S. Navy destroyer escort DE-570 by Bethlehem-Hingham Shipyard, Inc. in Hingham, Massachusetts, on 16 October 1943 and launched on 4 December 1943. She was transferred to the United Kingdom upon completion on 25 January 1944; the ship was commissioned into service in the Royal Navy under the command of Lieutenant Tempest Hay, RN, as the frigate HMS Waldegrave on 25 January 1944 with her transfer. She served in the Royal Navy for the duration of World War II, garnering battle honours for her operations in the North Atlantic Ocean and English Channel and the Normandy Landings at the American Beachheads; the Royal Navy returned Waldegrave to the U. S. Navy on 3 December 1945; the U. S. Navy struck Waldegrave from its Naval Vessel Register on 21 January 1946.

She soon was sold to the Atlas Steel and Supply Company of Cleveland, for scrapping resold in 1946 to the Kulka Steel and Equipment Company of Alliance and sold a third and final time on 8 December 1946 to the Bristol Engineering Company of Somerset, Massachusetts. She was scrapped in June 1948; this article incorporates text from the public domain Dictionary of American Naval Fighting Ships. The entry can be found here. Navsource Online: Destroyer Escort Photo Archive Waldegrave HMS Waldegrave HMS Waldegrave Destroyer Escort Sailors Association DEs for UK Captain Class Frigate Association HMS Waldegrave K579 Photo gallery of HMS Waldegrave