By Toby Wine
1001 Blues Licks provides 1001 riffs in a number of blues types to be performed in the typical 12-bar layout. this is often the suitable ebook for newcomers looking a well-organized, easy-to-follow encyclopedia of blues licks, in addition to consummate pros who are looking to take their wisdom of the blues to new heights.
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Additional info for 1001 Blues Licks: For All Treble Clef Instruments
18–21. See also Burnim, David Garrick, 57. For an analysis of the dominance of the actor in Restoration drama, see Holland, The Ornament of Action, 55–98, and passim. ), A Passion for Performance. Georg Forster, writing in 1790, and quoted in Kelly, German Visitors to English Theaters in the Eighteenth Century, 140; cited in West, Image of the Actor, 65. 19 20 The Rival Sirens: Performance and Identity on Handel’s Operatic Stage sets off the character he bears in an opera by his action, as much as he does the words of it by his voice.
52 This damning representation of the personal character of actresses seems to leave little room for doubt that what they were on stage, before the public gaze, was who they were in daily life. As in Henry James’s assertion of monstrosity, there is an opprobrium in Brinsley’s comments that seems qualitatively different from the regular observation of a connection between actor and character that also applied to men. There is a sense here almost of women’s inability to act, in comparison to men – a sense perhaps heightened during the course of the eighteenth century by Garrick’s and others’ 51 52 Howe, The First English Actresses, 34.
In early eighteenth-century dramma per musica, as Reinhard Strohm’s observations have shown, characterisation was not undertaken in a way that is now familiar: the passions and virtues were opera’s subjects, which characters articulated or represented emblematically (as the importance of simile arias underscores). 9 As Bernard Beckerman has noted, ‘in a highly 5 6 7 8 9 For examples, see the correspondence of Rolli and Riva in Ha¨ndel-Handbuch 4, and for Swiney see Gibson, The Royal Academy of Music, 348–82.