Number Two, No. 2, or similar may refer to:
#2 is the second solo record from German singer-songwriter Thees Uhlmann released on Uhlmann's own Grand Hotel van Cleef Records. The album was produced by Tobian Kuhn. Of the album's production, Uhlmann stated that he often would write the first lyrics of a song and wait for Kuhn's reaction. Once satisfied, they would continue the rest of the piece. The album was a critical and commercial success in Uhlmann's native Germany, reaching #2 on the German Albums Chart.
All lyrics written by Thees Uhlmann, all music composed by Uhlmann and Tobias Kuhn.
No. 2 was an American indie rock band that originated in Portland, Oregon in 1996 and consisting of Neil Gust (guitar and vocals), Gilly Ann Hanner (bass, backing vocals; later to be replaced by Jim Talstra) and Paul Pulvirenti (drums).
No. 2 was formed by frontman Neil Gust after the breakup of Heatmiser. The band's name is a reference to the fact that this was Neil Gust's second band with Virgin Records:
The band quickly picked up where Heatmiser left off, with songs on their debut album No Memory that echoed the sound and feel of Mic City Sons. No Memory quickly earned the band praise for its melodic hooks and finely crafted songs. No. 2 began small, with Neil Gust asking a few friends to help record some material for a new album.
The band's first release, a 7" vinyl called "Allistair Chestnut", was released in mid-1999. The A-side, titled "Allistair Chestnut", is a song about falling for someone who is more interested in 'playing the field' than a relationship. The band's first full album, No Memory, was released within months of the "Allistair Chestnut" 7". A full tour followed, mostly opening for former bandmate Sam Coomes's band Quasi. A second album, What Does Good Luck Bring? followed in 2002.
The piano (Italian pronunciation: [ˈpjaːno]; an abbreviation of pianoforte [pjanoˈfɔrte]) is a musical instrument played using a keyboard. It is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing and rehearsal. Although the piano is not portable and often expensive, its versatility and ubiquity have made it one of the world's most familiar musical instruments.
An acoustic piano usually has a protective wooden case surrounding the soundboard and metal strings, and a row of 88 black and white keys (52 white, 36 black). The strings are sounded when the keys are pressed, and silenced when the keys are released. The note can be sustained, even when the keys are released, by the use of pedals.
Pressing a key on the piano's keyboard causes a padded (often with felt) hammer to strike strings. The hammer rebounds, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air. When the key is released, a damper stops the strings' vibration, ending the sound. Although an acoustic piano has strings, it is usually classified as a percussion instrument because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel-Sachs system of instrument classification, pianos are considered chordophones. With technological advances, electric, electronic, and digital pianos have also been developed.
In music, dynamics are instructions in musical notation to the performer about hearing the loudness of a note or phrase. More generally, dynamics may also include other aspects of the execution of a given piece.
The two basic dynamic indications in music are:
More subtle degrees of loudness or softness are indicated by:
Beyond f and p, there are also
And so on.
Some pieces contain dynamic designations with more than three f's or p's. In Holst's The Planets, ffff occurs twice in Mars and once in Uranus often punctuated by organ and fff occurs several times throughout the work. It also appears in Heitor Villa-Lobos' Bachianas Brasileiras No. 4 (Prelude), and in Liszt's Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam". The Norman Dello Joio Suite for Piano ends with a crescendo to a ffff, and Tchaikovsky indicated a bassoon solo pppppp in his Pathétique Symphony and ffff in passages of his 1812 Overture and the 2nd movement of his Fifth Symphony.
Piano four hands (French: À quatre mains, German: Zu vier Händen, Vierhändig, Italian: a quattro mani) is a type of piano duet in which the two players play on a single piano. A duet with the players playing separate instruments is generally referred to as a piano duo.
Music written for piano four hands is usually printed so that the part for each player occupies the page which is directly opposite to him. The upper part, for the pianist sitting on the right and with the music on the right side of the page, is called primo, while the lower part, for the pianist on the left, is called secondo.
By far the greater proportion of music "à quatre mains" consists of arrangements of orchestral and vocal compositions and of quartets and other groups for stringed instruments. Indeed, scarcely any composition of importance for any combination of instruments exists which has not been arranged and published in this form, which on account of its comparative facility of performance is calculated to reproduce the characteristic effects of such works more readily and faithfully than arrangements for piano solo. Such arrangements were especially popular before the development of recording technology, as the vast majority of the time there would be no other way to hear many of the best-known works of music.
Ochre (/ˈoʊkər/ OH-kər; from Greek: ὠχρός, ōkhrós, (pale yellow, pale), also spelled ocher, see spelling differences) is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the colors produced by this pigment, especially a light brownish-yellow. A variant of ochre containing a large amount of hematite, or dehydrated iron oxide, has a reddish tint known as "red ochre".
Ochre is a family of earth pigments, which includes yellow ochre, red ochre, purple ochre, sienna, and umber. The major ingredient of all the ochres is iron(III) oxide-hydroxide, known as limonite, which gives them a yellow color.
Honte à toi qui la première m'a appris la trahison,
Et d'horreur et de colère m'a fait perdre la raison,
Et d'horreur et de colère m'a fait perdre la raison.
Honte à toi femme à l'oeil sombre, dont les funestes amours,
Ont enseveli dans l'ombre mon printemps et mes beaux jours,
Ont enseveli dans l'ombre mon printemps et mes beaux jours.
C'est ta voix, c'est ton sourire, c'est ton regard corrupteur,
Qui m'ont appris à maudire jusqu'au semblant du bonheur,
Qui m'ont appris à maudire jusqu'au semblant du bonheur.
C'est ta jeunesse, c'est tes charmes qui m'ont fait desespérer,
Et si je doute des larmes c'est que je t'ai vu pleurer,
Et si je doute des larmes c'est que je t'ai vu pleurer.
Honte à toi, j'étais encore, aussi simple qu'un enfant,
Comme une fleur à l'aurore mon coeur s'ouvrait en t'aimant,
Comme une fleur à l'aurore mon coeur s'ouvrait en t'aimant.
Certes ce coeur sans défense, pu sans peine être abusé,
Mais lui laisser l'innocence etait encore plus aisé,
Mais lui laisser l'innocence etait encore plus aisé.
Honte à toi, qui fut la mer de mes premieres douleurs,
Et tu fis de ma paupiere jaillir la source des pleurs,
Et tu fis de ma paupiere jaillir la source des pleurs.
Elle coule sois en sûr et rien ne la tarira,
Elle sort d'une blessure qui jamais ne guerira,
Elle sort d'une blessure qui jamais ne guerira.
Mais dans cette source amere, du moins je me laverais,
Et j'y laisserai j'espere ton souvenir aborré,
Et j'y laisserai j'espere ton souvenir aborré,
Et j'y laisserai j'espere ton souvenir aborré.