From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #12122 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, September 2 2023 Volume 14 : Number 12122 Today's Subjects: ----------------- Imagine Yourself 10 Years from Now ["Ruby" ] Morning Wood Problems⦠["Getinstahard Ad" Subject: Imagine Yourself 10 Years from Now Imagine Yourself 10 Years from Now http://surgemastercard.quest/NU8BvAVcjEjA98iJ0KSM5xHtUekAwHGuV-9kIc95AjBIOD-CIw http://surgemastercard.quest/VDxZHEknpjNo8JMsx2gpAaQwow5BPlvZ81l3LFbSI2hFowRgVg Most Hammond organs have two 61-note (five-octave) keyboards called manuals. As with pipe organ keyboards, the two manuals are positioned on two levels close to each other. Each is laid out in a similar manner to a piano keyboard, except that pressing a key on a Hammond results in the sound continuously playing until it is released, whereas with a piano, the note's volume decays. No difference in volume occurs regardless of how heavily or lightly the key is pressed (unlike with a piano), so overall volume is controlled by a pedal (also known as a "swell" or "expression" pedal). The keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, commonly referred to as "waterfall" style. Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys (which has subsequently made them ideal for spares on B-3s and C-3s), but later spinet models had "diving board" style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys. Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher. Hammond used a 25-note pedalboard because he found that on traditional 32-note pedalboards used in church pipe organs, the top seven notes were seldom used. The Hammond Concert models E, RT, RT-2, RT-3 and D-100 had 32-note American Guild of Organists (AGO) pedalboards going up to the G above middle C as the top note. The RT-2, RT-3 and D-100 also contained a separate solo pedal system that had its own volume control and various othe ------------------------------ Date: Sat, 2 Sep 2023 15:34:56 +0200 From: "Getinstahard Ad" Subject: Morning Wood Problems⦠Morning Wood Problemsb& http://flexoblissplus.today/RnxAsHcVsNxUG1mv0zgxl9ivkUEjTUrLPC8y9xeF9ybOT1aONw http://flexoblissplus.today/wmVPjDFVI3nRHgSVL1ggzhWXH80icvsP6ibu5ISu0gbpI1mzDQ In 1871 he was appointed to play the organ regularly at la TrinitC) church in Paris, and this position, organiste titulaire, was one he held for 30 years. Guilmant was known for his improvisations, both in the concert and church setting. His inspiration came from gregorian chants, and he was greatly noted amongst his colleagues for his mastery of the melodies. From then on, Guilmant followed a career as a virtuoso; he gave concerts in the United States (the first major French organist to tour that country), and in Canada, as well as in Europe, making especially frequent visits to England. His American achievements included a 1904 series of no fewer than 40 recitals on the largest organ in the world, the St. Louis Exposition Organ, now preserved as the nucleus of Philadelphia's Wanamaker Organ. With his younger colleague AndrC) Pirro, Guilmant published a collection of scores, Archives des MaC.tres de l'Orgue (Archives of the Masters of the Organ), a compilation of the compositions of numerous pre-1750 French composers. The collection was printed in ten volumes, the first in 1898 and the last (which Guilmant did not live to finalize) in 1914. Guilmant provided a rather similar survey of organ pieces by foreign composers, publishing l'C cole classique de l'Orgue (Classical School of the Organ). These anthologies, despite all the musicological developments which have taken place since Guilmant's own time, remain very valuable sources of early music. In 1894 Guilmant founded the Schola Cantorum with Charles Bordes and Vincent d'Indy. He taught there up until his death at his home in Meudon, near Paris, in 1911. In addition, he taught at the Conservatoire de Paris where he succeeded Charles-Marie Widor as organ teacher in 1896. As a teacher, Guilmant was noted for his kindness and attention to detail. His students' recollections feature accounts of a particular focus on all facets of a note: attack, release, character. Marcel DuprC) was the most celebrated of his many students. Others included Augustin BariC), Joseph-Arthur Bernier, Joseph Bonnet, Alexandre EugC(ne Cellier, Abel Decaux, Gabriel Dupont, Charles Henry Galloway, Philip Hale, Edgar Henrichsen, C douard Mignan, and C mile Poillot. See: List of music students by teacher: G to J#Alexandre Guilman ------------------------------ Date: Sat, 2 Sep 2023 15:10:50 +0200 From: "Male Breakthrough" Subject: White Wife Caught In African Elongation Ritual White Wife Caught In African Elongation Ritual http://surgemastercard.quest/O0r7_D0_j0i-9wBJA0DtKliNEskOr1XsDnsW9QBvkEq9llT7cg http://surgemastercard.quest/f_aLHb3V_H0OQ0vHKYjreVzr_IVGzfk9791L8OL76v-zui968w The organ has had an important place in classical music, particularly since the 16th century. Spain's Antonio de CabezC3n, the Netherlands' Jan Pieterszoon Sweelinck, and Italy's Girolamo Frescobaldi were three of the most important organist-composers before 1650. Influenced in part by Sweelinck and Frescobaldi, the North German school rose from the mid-17th century onwards to great prominence, with leading members of this school having included Buxtehude, Franz Tunder, Georg BC6hm, Georg Philipp Telemann, and above all Johann Sebastian Bach, whose contributions to organ music continue to reign supreme. During this time, the French Classical school also flourished. FranC'ois Couperin, Nicolas LebC(gue, AndrC) Raison, and Nicolas de Grigny were French organist-composers of the period. Bach knew Grigny's organ output well, and admired it. In England, Handel was famous for his organ-playing no less than for his composing; several of his organ concertos, intended for his own use, are still frequently performed. After Bach's death in 1750, the organ's prominence gradually shrank, as the instrument itself increasingly lost ground to the piano. Nevertheless, Felix Mendelssohn, CC)sar Franck, and the less famous A.P.F. BoC+ly (all of whom were themselves expert organists) led, independently of one another, a resurgence of valuable organ writing during the 19th century. This resurgence, much of it informed by Bach's example, achieved particularly impressive things in France (even though Franck himself was of Belgian birth). Major names in French Romantic organ composition are Charles-Marie Widor, Louis Vierne, Alexandre Guilmant, Charles Tournemire, and EugC(ne Gigout. Of these, Vierne and Tournemire were Franck pupils. In Germany, Max Reger (late 19th century) owes much to the harmonic daring of Liszt (himself an organ composer) and of Wagner. Paul Hindemith produced three organ sonatas and several works combining organ with chamber groups. Sigfrid Karg-Elert specialized in smaller organ pieces, mostly chorale-preludes. Among French organist-composers, Marcel DuprC), Maurice DuruflC), Olivier Messiaen and Jean Langlais made significant contributions to the 20th-century organ repertoire. Organ was also used a lot for improvisation, with organists such as Charles Tournemire, Marcel DuprC), Pierre Cochereau, Pierre Pincemaille and Thierry Escaich. Some composers incorporated the instrument in symphonic works for its dramatic effect, notably Mahler, Holst, Elgar, Scriabin, Respighi, and Richard Strauss. Saint-SaC+ns's Organ Symphony employs the organ more as an equitable orchestral instrument than for purely dramatic effect. Poulenc wrote the sole organ concerto since Handel's to have achieved mainstream popula ------------------------------ Date: Sat, 2 Sep 2023 10:32:41 +0000 From: "personal goddess" Subject: 4 word question kills his love [IMAGE] There’s 4 simple words a woman can say to a man to make him instantly pull away even if he’s in LOVE with you when you say them… If you’ve ever had a man go from “hot” to “cold” seemingly overnight, it’s probably because you said these words without even knowing it… 4 word question makes him pull away... 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All you have to do is click the link below to find out if you’re right… Best, Laura Gould If you does't like this, please Click here 1382 Ray Court Fayetteville, NC 28301 [IMAGE] ------------------------------ Date: Sat, 2 Sep 2023 08:00:00 +0300 From: marwa ahad Subject: =?UTF-8?B?2LTZh9in2K/YqSDYp9iu2LXYp9im2Ykg2KfZhNiz2YPYsdiq2KfYs dmK2Kkg2YjYp9mE?= =?UTF-8?B?2KfYr9in2LHYqdin2YTZhdmD2KrYqNmK2Kkg2KfZhNmF2LnYqtmF2K8g2K7Z hNin2YQg2KfZhNmB2Ko=?= =?UTF-8?B?2LHYqSDZhdmGIDEwINin2YTZiSAxNCDYs9io2KrZhdio2LEg2KjYtNmH2KfY r9ipINmF2LnYqtmF2K8=?= =?UTF-8?B?2Kkg2KfZiNmG2YTYp9mK2YYg2LnYqNixINiy2YjZiNmI2YUg2YHZiSDYrdin 2YQg2KrYudiw2LEg2Kc=?= =?UTF-8?B?2YTYrdi22YjYsQ==?= *X'YX3YX'Y X9YY YY YX1X-YX) X'YYY YX(X1YX'X*X)* *X*YX/Y YY X'YX/X'X1 X'YX9X1X(Y X) YYX*YYY X) X'YX'X/X'X1Y X) X#X7Y X( X*X-Y X'X*YX' YX#X5X/Y X#YYY X'X*YX' X(X/YX'Y X'YX*YYY Y.* *YX*YX/Y YYY* *X4YX'X/X) * *X'X.X5X'X&Y X'YX3YX1X*X'X1Y X) YX'YX'X/X'X1X) X'YYYX*X(Y X) X'YYX9X*YX/* X.YX'Y X'YYX*X1X) YY 10 X'YY 14 X3X(X*YX(X1 X(X4YX'X/X) YX9X*YX/X) X'YYYX'Y Y X9X(X1 X2YYYY YY X-X'Y X*X9X0X1 X'YX-X6YX1 *X'YX'YX/X'Y : * X3Y X*YYY X'YYX4X'X1YYY YY YYX'Y X) X'YX/YX1X) YY: - X*X-X/Y X/ YYYY X/YX1 X'YX%X/X'X1Y YYX/Y X1 X'YYYX*X( - X*YYY X0 X'X3X*X1X'X*Y X,Y X'X* X'YX*YX'X5Y X'YYYX8Y YX'YYX*X'X(Y X'YYX'X2YX) YX*YYY X0 X'YYX3X$YYY X'X* X(X7X1Y YX) YX9X'YX) - YX6X9 X3YYY YYX.X/YX) Y YX/Y X%YY X%X1X6X'X! 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X'YX'X5X7YX'X9Y YY X*X7YY X1 X'YX'X3X*X1X'X*Y X,Y X) * *X'YYX9X'Y Y X1 X'YYX7YY Y X'YX3X9YX/Y X) YYYX3X*X4YY X'X* X3X(X'YY (**CBAHI** )* *YYX1X3 X*YY Y Y YYX1X'X!X) X'YX'X/X'X! X'YYX'YY YY X'YYX$X3X3X'X* X'YX1Y X'X6Y X) YX:Y X1 X'YYX'YY Y Y* - -- bYYX/ X*YYY X* YX0Y X'YX1X3X'YX) YX#YY YX4X*X1Y YY X'YYX,YYX9X) "ahadhrorg22" YY YX,YYX9X'X* Google. YX%YX:X'X! X'YX'X4X*X1X'Y YY YX0Y X'YYX,YYX9X) YX%Y YX'Y X*YYY X1X3X'X&Y X'YX%YYX*X1YYY X) YYYX'X X#X1X3Y X1X3X'YX) X%YYX*X1YYY X) X%YY ahadhrorg22+unsubscribe@googlegroups.com. YX9X1X6 YX0Y X'YYYX'YX4X) X9YY X'YYY X(X X'YX*YY X%YY https://groups.google.com/d/msgid/ahadhrorg22/CAG%2BB_q_kxvX_WMxy5g%2B7WQ8wo4QFQkgoEMWjUFM9U3_wk6XEpw%40mail.gmail.com. ------------------------------ Date: Fri, 1 Sep 2023 13:16:34 +0200 From: "Morphine" Subject: Eat THIS for pain-free joints Eat THIS for pain-free joints http://dickssportinggoodssurvey.world/gWs8ipXm2mV5tYQoe1I4X0Kz9LDQxCLT-AYGH1a6McjsaAIYCg http://dickssportinggoodssurvey.world/G7LnMcd584t7iDG1FXoCCayJGUTopHh5vXh5w9oNvUQIrOu4vA Analysis by Kayser et al. (2008) discovered that only 21% of the Polynesian autosomal gene pool is of Australo-Melanesian origin, with the rest (79%) being of Austronesian origin. Another study by Friedlaender et al. (2008) also confirmed that some Polynesians are closer genetically to Micronesians, Taiwanese Aborigines, and Islander Southeast Asians than to Papuans. The study concluded that Polynesians moved through Melanesia fairly rapidly, allowing only limited admixture between Austronesians and Papuans. Polynesians belong almost entirely to the Haplogroup B (mtDNA) especially to mtDNA B4a1a1 (Polynesian motif), and thus the high frequencies of mtDNA B4 in the Polynesians are the result of drift and represent the descendants of a few Austronesian females who mixed with Papuan males. The Polynesian population experienced a founder effect and genetic drift due to the ancestors of Polynesian being very few in numbers. As a result of founder effect, the Polynesian are distinctively different both genotypically and phenotypically from the parent population from which it is derived. This is due to new population being established by a very small number of individuals from a larger population which also causes a loss of genetic variation. Soares et al. (2008) have argued for an older pre-Holocene Sundaland origin in Island Southeast Asia (ISEA) based on mitochondrial DNA. The "out of Taiwan model" was challenged by a study from Leeds University and published in Molecular Biology and Evolution. Examination of mitochondrial DNA lineages shows that they have been evolving in ISEA for longer than previously believed. Ancestors of the Polynesians arrived in the Bismarck Archipelago of Papua New Guinea at least 6,000 to 8,000 years ago. A 2014 study by Lipson et al. using whole genome data supports the findings of Kayser et al. Modern Polynesians were shown to have lower levels of admixture with Australo-Melanesians than Austronesians in Island Melanesia. Regardless, both show admixture, along with other Austronesian populations outside of Taiwan, indicating varying degrees of intermarriage between the incoming Neolithic Austronesian settlers and the preexisting Paleolithic Australo-Melanesian populations of Island Southeast Asia and Melanesia. Other studies in 2016 and 2017 also support the implications that the earliest Lapita settlers mostly bypassed New Guinea, coming directly from Taiwan or the northern Philippines. The intermarriage and admixture with Australo-Melanesian Papuans evident in the genetics of modern Polynesians (as well as Islander Melanesians) occurred after the settlement of Tonga and Vanuat ------------------------------ End of alt.music.moxy-fruvous digest V14 #12122 ***********************************************