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white und ivory immer wunderschöne Brautkleider ohne Träger

Das Meer kann ein viel weniger formalisierter Ort für  eine Ehe sein und eignet sich nicht gut für schwereren Satin, viele  Perlen, lange Schleier und Züge. Es ist auch oft viel billiger, da Sie  in der Lage sind, herausragende Hochzeitsoutfits direkt von der Stange  in zahlreichen guten Geschäften zu finden.

 Das Auswählen einer Scheide oder eines A-Line-Stils ist bei einer  Hochzeit auf dem Meer einfacher, insbesondere wenn im Allgemeinen ein  leichter Wind oder eine leichte Brise auf dem Sand weht. Oft werden die  wogenden Typen nur stören und sich nicht als angenehm für Sie  herausstellen.
Während off white, white und ivory immer wunderschöne  Brautkleider ohne Träger und akzeptabel sind, würde ein fantastisches  hellgrünes oder blaues 
hochzeitskleider übergrößen
,  zartes Gelb oder ein Lavendel mit der natürlichen Kulisse des  herrlichen Sandes und Meeres auf jeden Fall fantastisch aussehen.

 Sie und der Verlobte möchten vielleicht immer noch eine traditionelle  formelle Hochzeitszeremonie. Wenn ja, vergessen Sie nicht, die Wetter-  und Strandbedingungen zu berücksichtigen und wählen Sie Ihr Kleid unter  Berücksichtigung dieser Bedingungen aus. Auch hier keine schwereren  Stoffe, lange Züge und der Schleier kurz und unkompliziert.

Ils ont besoin de faire du shopping en robe


 La robe est l’un des achats les plus importants et les plus importants  de votre journée massive, ce qui signifie que vous voulez vous assurer  que vous avez fait le plus grand choix et que vous êtes satisfait de ce  que vous avez sélectionné. À la fin, c'est votre mariage et c'est vous  qui portez cette robe de mariée. Quels que soient vos choix, vous saurez  que vous portez la robe de mariée parfaite pour une grande mariée 
site robe soiree
, comme si vous étiez.

 Contactez les magasins pour vérifier cela. Le jour de votre  rendez-vous, résistez à l'envie de mettre des vêtements confortables et  d'aller au magasin. mariée  colorées. Les couleurs communes sont rose-violet de toutes les  couleurs. 
Vous pouvez choisir de nombreuses substances, par  exemple: B. dentelle, mousseline et ainsi de suite. Vous pouvez ajouter  de la dentelle à votre robe de mariée pour qu'elle soit élégante et  élégante. En outre, vous pouvez également ajouter des accessoires à  votre mariage pour le rendre plus beau.


The Storm

I had this idea last year of composing a suite that represents different types of weather. But it wasn't until yesterday that I started composing part of this suite. As you can probably tell from the post title, this part of the suite is supposed to represent a storm. That is why I chose the key to be a minor key. I went with C minor because it is the easiest of the minor keys for me to improvise in. I would have used 8va for the sixteenth note runs in the right hand. Problem is, the section that would be 8va goes by so fast that I'm not sure where to start the 8va. Similar thing goes for where I would typically use a clef change. So outside of the first few bars, I haven't put in any 8va markings or clef changes.

I have been doing these things to get across the feeling of a storm in the piece:

 - Keep the 16th note momentum up except for places where I decide to use a harmonic progression
- Use scalar passages with leaps to represent the strong wind
- Stark dynamic contrast(Like it quickly goes from pianissimo to fortissimo in the beginning 5 bars)
- Staccato to represent the rain
- Fast octaves to give a sense of turbulence(which is very fitting for music that is supposed to sound like a storm)
- Use the Fate Motif underneath a long scalar passage to give the feeling of a lightning flash
- Use harmonic progressions to represent the thunder
- Use diminished 7ths more often than dominant 7ths 

Here is the link to the piece if you want to give me feedback on what I have so far of it:

ARRANGEMENT for last concert

hey, so me and my friends want to put together something for our last ever concert but need some help. it needs to be based on film as that's the concert theme but we don't want to do something boring or typical. 

parts needed:
Bb clarinet
(possibly guitar if possible but we can make something work otherwise)

any help would be much appreciated as the concert is in 10 days!! thank you :)

Inversion by Minor sixth = Change in axis?

Okay, let me clear things up here. I have a short little motive in the first theme of my rondo that I think will lend itself to motivic development nicely. My second theme starts in Ab major. Just for context here, my first theme is in C minor. Here are the notes of the motive:

C, F, D, Eb, Ab, F, G, C

I have the melodic equivalent of a line cliche here. No problems with that. Here is the interval pattern:

(Ascending fourth, Descending third, Ascending second)x2, Ascending fourth

The rhythmic pattern is quarter, eighth, eighth, quarter, eighth, eighth, quarter, quarter. So something similar to this:

but with 2 extra quarter notes added.

The fact that both the intervals and the rhythm are in a pattern means that there are both rhythmic and melodic routes to developing the motive which means more development can be done without making the motive seem boring. And the fact that the motive is long means even more development is possible than if it were shorter.

Now here is where I get to inversion. I was thinking of inverting by an interval other than the unison so that my motive could not only go down but also be consonant with Ab major. Yes I know, I could have simply transposed the motive and then do your typical inversion by the unison. But I wanted to try something different.

First I wanted to see if the interval from C to Ab was symmetrical by scale steps alone. If it was, then, there would be 1 note that would stay the same. Turns out, it wasn't symmetrical by scale steps. Now this is where I had to bring in the half steps. I was wanting to figure out what note did stay the same assuming that the inversion is by half step numbers and not scale step numbers. Turns out, it is E natural. Now I also went outwards, this time by scale steps and there was a shared note, Bb, the only note in C natural minor that doesn't appear in my motive.

This made me think

Wait a minute. If I treat this as an inversion by minor sixth, then C becomes Ab, Db becomes G, D becomes Gb, Eb becomes F, E stays put, B becomes A, and Bb stays put. I end up in Db major this way which is at least closely related to Ab major. If I treat this as a change of axis followed by inversion by the octave, I get the scale symmetry back but all of a sudden I'm in Bb major when I'm trying to go to Ab major. That is not closely related to Ab major. The only key with a tonic of Bb that is closely related to Ab major is Bb minor.

So basically, I hit a dead end there with my non-octave, non-unison inversion. I was trying to invert it such that via inversion I would go from C minor to Ab major. And I figured that it would have to involve C going to Ab. But that lead me to 2 very different keys depending on whether I think chromatically or diatonically about the inversion. In either case, the E and Bb stay put and those notes are a tritone away so the fact that they stay put after inversion makes sense because the tritone is symmetrical across the octave.

But why is it that inversion by the minor sixth does not lead you to the key a minor sixth away but instead a minor second or minor seventh away? Does this mean that I would have to invert by the major 10th to get to Ab major from C minor via inversion alone?