Who were the three main characters in Romeo and Juliet?????? NEED ANSWER FAST!!!

I'm not able to look anything up atm but I would like the lyrics to Ritual by Ellie Goulding please and thanks

erik [133]

Answer:

Lyrics:

We're right into a place of fire

We hold our heads up high tonight

And we breathe the smoke of fear we owe

We let our hearts upside tonight

But in my scarred skin cause I know I've sinned

And it plagued the air on my house Ruben

There's a sound of him in the darkest words

And I know my own fears, I understand

It's a ritual, I know you feel it

It's a ritual, I know you've seen it

It's a ritual, I know you feel it

You feel it, you feel it, you feel it

Into the death and shoots as far

Too late to be with you'd from high

You see it's a thought those guys was he

Our faith he'll hear our cries a ghost

And he won't stop here, acting with my fear

There's a raging fire and it burns so mean

But I'm ready now, but I'm ready now

It's a ritual, I know you feel it

It's a ritual, I know you've seen it

It's a ritual, I know you feel it

You feel it, you feel it, you feel it

It's a ritual, I know you feel it

It's a ritual, I know you've seen it

It's a ritual, I know you feel it

You feel it, you feel it, you feel it

The ritual, we lose it all

It's a ritual, I know you feel it

It's a ritual, I know you've seen it

It's a ritual, I know you feel it

You feel it, you feel it, you feel it

The ritual, we lose it all

The ritual, we lose it al

Explanation:

Source: https://www.lyricfind.com/

3 0

1 year ago

Read 2 more answers

Who is the ghost that appears at night to Hamlet and the Guards?

nasty-shy [4]

Answer:

The ghost of Hamlet's father is a character from William Shakespeare's play Hamlet. In the stage directions he is referred to as "Ghost".

Explanation:

So, it's A

6 0

2 years ago

How do we create musical texture? HELP ME!!!!!!!!!!!!!!!!!!!!!!!!PLZPLZ

AURORKA [14]

Answer:

Texture is one of the basic elements of music. When you describe the texture of a piece of music, you are describing the relationship of melodic and (sometimes) harmonic elements with each other. For example, the texture of the music might be thick or thin, or it may have many or few layers. It might be made up of rhythm only, or of a melody line with chordal accompaniment, or many interweaving melodies. Below you will find some of the formal terms musicians use to describe texture.

There are many informal terms that can describe the texture of a piece of music (thick, thin, bass-heavy, rhythmically complex, and so on), but the formal terms that are used to describe texture all describe the relationships of melodies and, if present, harmonies. Here are definitions and examples of the three main textures you will encounter in our class.

Monophonic

Monophonic music has only one melodic line, with no harmony or counterpoint. There may be rhythmic accompaniment, but only one line that has specific pitches.

Examples of Monophony

One person whistling a tune

A single bugle sounding “Taps”

A group of people all singing a single melody together without harmony or instrumental accompaniment

A fife and drum corp, with all the fifes playing the same melody

Polyphonic

Polyphonic music can also be called polyphony, counterpoint, or contrapuntal music. If more than one independent melody is occurring at the same time, the music is polyphonic.

Examples of Polyphony

Rounds, canons, and fugues are all polyphonic. (Even if there is only one melody, if different people are singing or playing it at different times, the parts sound independent.)

Much late Baroque music is contrapuntal, particularly the works of J.S. Bach.

Most music for large instrumental groups such as bands or orchestras is contrapuntal at least some of the time.

Music that is mostly homophonic can become temporarily polyphonic if an independent countermelody is added. Think of a favorite pop or gospel tune that, near the end, has the soloist “ad libbing” while the back-up singers repeat the refrain.

Homophonic

Homophonic music can also be called homophony. More informally, people who are describing homophonic music may mention chords, accompaniment, harmony or harmonies. Homophony has one clear melodic line; it’s the line that naturally draws your attention. All other parts provide accompaniment or fill in the chords. In most well-written homophony, the parts that are not melody may still have a lot of melodic interest. They may follow many of the rules of well-written counterpoint, and they can sound quite different from the melody and be interesting to listen to by themselves. But when they are sung or played with the melody, it is clear that they are not independent melodic parts, either because they have the same rhythm as the melody (i.e. are not independent) or because their main purpose is to fill in the chords or harmony (i.e. they are not really melodies).

Examples of Homophony

Choral music in which the parts have mostly the same rhythms at the same time is homophonic. Most traditional Protestant hymns and most “barbershop quartet” music is in this category.

A singer accompanied by a guitar picking or strumming chords.

A small jazz combo with a bass, a piano, and a drum set providing the “rhythm” background for a trumpet improvising a solo.

A single bagpipes or accordion player playing a melody with drones or chords.

5 0

2 years ago

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Is it good to learn piano as a beginner with labelled keys

Firlakuza [10]

Answer:

Yes if you memorize by looking that way you can learn where each key is and when you do you will no longer need to look you will just know

Explanation:

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