No 2.
All of the verbs are in the same tense. Jogg<em>ing </em>hik<em>ing </em>and read<em>ing
</em>If we look at No 1 and No 3, some of them are off. Therefore, No 2 must be correct.
<em>
From One Smartie to Another - BubbleSmartie11</em>
Answer:
C
Explanation:
This step by step TOASTT analysis will allow you to discover the poet's meaning.
The feelings of Mr. Stewart about good judgment and<em> </em>being in the right place at the right time are expressed by <u>D. These are essential skills that are very important in his line of work.</u>
<h3>Essential Skills in Every Line of Work</h3>
Certainly, Mr. Stewart cannot feel that good judgment and rightness do not affect his line of work or that they are no longer part of his job.
Thus, we can correctly conclude that Mr. Stewart feels that good judgment and rightness are essential skills in his line of work.
Learn more about good judgment and being in the right place here: brainly.com/question/1592433
The answer is ˈstrik(t)lē<span>/</span>
Answer:
A Adderley: bluesy and grounded in the beat; Coltrane: soaring mystically above the melody and freer in the rhytm aspect.
B Influenced by Parker but by the time of his stay with Miles Davis and John Coltrane, already incorporating a kind of fluid playing with more rhythmic freedom.
C Harmonically dense but still rhytmically relaxed as Lester Young.
D The genius of the piano displays rhytmical and harmonical freedom in his solo. His use of stretched triple notes is remarkable and unique
Explanation:
B Cannonball Adderley, equipped with the understanding and technique of Charlie Parker, had always played closely following and emphasizing the beat.
A In his 4 choruses solo in love for sale Adderley is noted for staying close to the melody and harmony of the song, but at the same time singing and flying like Charlie Bird Parker.
C Although Coltrane was heavily influenced by the old master, Coleman Hawkins, his style leaned more toward the looser-swinging jazz of Lester Young.
A In his solo of 4 choruses´s in Love for sale Coltrane moves freely atop the rhythmic pulse and doesn´t stick very close to the melody.
D Bill Evans´s solo is impressive from the first chorus on. He displays an off-beat melody and on bars 25 to 32 he exhibits a triple feel over the duple meter. The bridge of the next two choruses is used to freely improvise.
