Slide (musical ornament)

The slide (Schleifer in German, Coulé in French, Superjectio in Latin) is a musical ornament often found in baroque musical works, but used during many different periods. It instructs the performer to begin two or three scale steps below the marked note and "slide" upward—that is, move stepwise diatonically between the initial and final notes. Though less frequently found, the slide can also be performed in a descending fashion.

History

In The Interpretation of Early Music, Robert Donington surveys many treatises to ascertain the history of the slide. Writing in 1654, John Playford noted that the slide can be used in ascending (he called it "elevation") or in descending (he called it "double backfall") forms.Christopher Simpson described the figure in his Division Violist: "Sometimes a note is graced by sliding to it from the third below, called an 'elevation', now something obsolete. Sometimes from the third above; which we call a double-backfall. This sliding a third, up, or down, is always done upon one string."Thomas Mace (1676) notes that the + sign above a note indicates its use.

Slide (footwear)

A slide is a shoe that is backless and open-toed, essentially an open-toed mule. Generally, all slides are not sandals. Thongs and flip flops are normally classified separately. Slides can be high-heeled, flat-heeled or somewhere in between, and may cover nearly the entire foot from ankle to toe, or may have only one or two narrow straps. They usually include a single strap or a sequence of straps across the toes and the lower half of the foot to hold the shoe on the foot. The term is descriptive in that this shoe is easy to 'slide' on and off the foot when the wearer wants to do so.

References

  • http://www.neo-geo.com/forums/showthread.php?226454-Slide-vs-Thong-Sandals
  • http://boards.askmen.com/forum/topics/the-lounge/79164-slides-or-flip-flops
  • Jig

    The Jig (Irish: port) is a form of lively folk dance in compound meter, as well as the accompanying dance tune. It developed in 16th-century England, and was quickly adopted on the Continent where it eventually became the final movement of the mature Baroque dance suite (the French gigue; Italian and Spanish giga). Today it is most associated with Irish dance music, Scottish country dance and the Métis people in Canada. Jigs were originally in duple compound meter, (e.g., 12
    8
    time), but have been adapted to a variety of time signatures, by which they are often classified into groups, including light jigs, slip jigs, single jigs, double jigs, and treble jigs.

    Origins

    The term jig was probably derived from the French giguer, meaning 'to jump' or the Italian giga. It was known as a dance in 16th-century England, often in 12
    8
    time, and the term was used for a post-play entertainment featuring dance in early modern England, but which 'probably employed a great variety of dances, solo (suitable for jigs), paired, round, country or courtly': in Playford's Dancing Master (1651) 'the dance game in ‘Kemps Jegg’ is a typical scenario from a dramatic jig and it is likely that the combination of dance metre for steps and non-metrical passages for pantomime indicates how a solo or ensemble jig might have been danced by stage players.' Later the dance began to be associated with music particularly in 6
    8
    time, and with slip jigs 9
    8
    time.

    Induction motor

    An induction or asynchronous motor is an AC electric motor in which the electric current in the rotor needed to produce torque is obtained by electromagnetic induction from the magnetic field of the stator winding. An induction motor therefore does not require mechanical commutation, separate-excitation or self-excitation for all or part of the energy transferred from stator to rotor, as in universal, DC and large synchronous motors. An induction motor's rotor can be either wound type or squirrel-cage type.

    Three-phase squirrel-cage induction motors are widely used in industrial drives because they are rugged, reliable and economical. Single-phase induction motors are used extensively for smaller loads, such as household appliances like fans. Although traditionally used in fixed-speed service, induction motors are increasingly being used with variable-frequency drives (VFDs) in variable-speed service. VFDs offer especially important energy savings opportunities for existing and prospective induction motors in variable-torque centrifugal fan, pump and compressor load applications. Squirrel cage induction motors are very widely used in both fixed-speed and variable-frequency drive (VFD) applications. Variable voltage and variable frequency drives are also used in variable-speed service.

    Slip (telecommunication)

    In telecommunications, a slip is a positional displacement in a sequence of transmitted symbols that causes the loss or insertion of one or more symbols. Slips are usually caused by inadequate synchronization of the two clocks controlling the transmission or by poor reception of the signal.

    References

  • Federal Standard 1037C
  • Slip (album)

    Slip is the debut studio album by American post-hardcore band Quicksand, released February 9, 1993 on the Polydor label. "Omission" and "Unfulfilled" first appeared on their 1990 self-titled EP. The album is included in Decibel magazine's Hall of Fame. Slip was well received by music critics and is now seen to be a classic in the post-hardcore and alternative metal genres and has influenced many bands

    Track listing

  • "Fazer"
  • "Head to Wall"
  • "Dine Alone"
  • "Slip"
  • "Freezing Process"
  • "Lie and Wait"
  • "Unfulfilled"
  • "Can Opener"
  • "Omission"
  • "Baphomet"
  • "Too Official"
  • "Transparent"
  • Bonus track

  • "How Soon Is Now?" (The Smiths cover)
  • Album credits

  • George Marino - Remastering
  • Andrew Smith - Assistant engineer
  • Fran Flannery - Assistant engineer
  • Phil Yarnall - Design
  • John Mockus - Photography
  • Mike Thompson - Assistant engineer
  • Quicksand - Main performer
  • Alex Brown - Cover art concept
  • Edward Douglas - Assistant engineer
  • Don Fury - Producer, engineer
  • Steve Haigler - Producer, mixing, engineer
  • Jesse Henderson - Assistant engineer
  • List of Marvel Comics characters: S

  • 0–9
  • A
  • B
  • C
  • D
  • E
  • F
  • G
  • H
  • I
  • J
  • K
  • L
  • M
  • N
  • O
  • P
  • Q
  • R
  • S
  • T
  • U
  • V
  • W
  • X
  • Y
  • Z
  • Sabra

    Sabre

    Sabre I

    The first Sabre was a former knife thrower named Paul Richarde until he was selected by Modred to oppose Black Knight. Paul Richarde was given an armor, an animated gargoyle. and Mordred's Ebony Dagger (the weapon with which Mordred had killed the first Black Knight). He was defeated by Black Knight after his horse Aragorn kicked the dagger from Le Sabre's hand.

    Sabre II

    The second Sabre is a mutant super villain. His first appearance was in X-Men #106. Young and reckless, Sabre was chosen by Mystique to join her new Brotherhood of Mutants, though never actually participated in any missions. He had the mutant ability of super speed, and took the name of the deceased Super Sabre. It is unknown if he continues to serve Mystique behind the scenes, or if he even retains his powers after Decimation. Hyper-accelerated metabolism augments his natural speed, reflexes, coordination, endurance, and the healing properties of his body.

    Podcasts:

    PLAYLIST TIME:

    Slip Slide

    by: Sir Michael Rocks

    (Hook x2)
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    (Verse)
    Even my side bitch a 8
    I had er all love on a steak
    Tryna see how many drugs I could take
    Aye don’t trip
    You know if big cuz in the place
    Then the trap slappin like the sub and the bass
    Aye I’m cutting my trips and I’m grippin the tech
    I’m pushin and pullin and grabbing her neck
    I’m killin the kitty and stroke at the differ
    I beat to the pussy, I pay my respects
    And I only love her when she nasty
    I’m runnin through the money like a trackme
    I’m talkin to these bitches hella raspy
    Some ratchet ass niggas but we classy
    She say she with the shit, the mobbing
    The kush, the criss, get it wet girl
    (Hook x2)
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    (Bridge)
    So give me love, give me drugs
    Give me brain, give me pain
    Give me sex
    Give me love, give me drugs
    Give me pain, give me brain
    Give me sex
    (Verse)
    And now I’m back on the scene, I’m back on the set
    They wish I was gone, they hope I forget
    But I ain’t forgot, they want me to flop
    They want me to fail but I do what I do oh so well
    Tell a bitch get goin, get goin
    Like what the fuck you been doin
    All the swisha been blowin
    And you ain’t major no more
    And then we lean whenever we want
    10 pints of 22 hundred
    And Salvatore Feragama
    Come from getting them commas
    We get this shit and we lit this shit
    And got rich my niggas, we get that
    Got a bad ass little milk mama
    Like where the fuck is yo kids at
    And where the hell did the time go?
    Do it for them bi leaners
    All that I got time for
    That’s my favorite rumble
    (Hook x2)
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    Cuz I just wanna slip slide
    Smush, squish, maybe drip drop
    (Bridge)
    So give me love, give me drugs
    Give me brain, give me pain
    Give me sex
    Give me love, give me drugs
    Give me pain, give me brain




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