Answer: Kotekan
Explanation: This is a style of playing characteristic of Balinese gamelan music, used for playing at high speed, which is possible because the notes are split between two instruments, i.e between two musicians. In this way, parts of the music that are locked together (interlocked), in the aforementioned manner are quickly played, separating the notes. The two separate parts played on the two instruments are thus combined to form a single musical line that is heard as a whole, that is, as an inseparable part, though it consists of two parts. Given that the notes have been previously split into two instruments, then the way of playing is locked again in its entirety, fast playing is possible. One note core, that is, a separable note, can be divided into two, four, and even eight notes, which are merged again into a single note core by combining the playing of multiple instruments in the aforementioned interlocking method.
By a hot material blowing onto it
Answer:
The answer is d. depended on whatever instrument he was on at the time.
Explanation:
Paul McCartney’s songwriting process involved sitting down, playing an instrument (usually a guitar or piano), and searching for meaningful melodies and chord shapes in order to get started, before adding words to make a musical piece.
Imitative polyphony
imitative polyphony permits the individuals from a polyphonic surface to share discernable highlights of the melodic material, as they resound bits of it among the different parts.
Polyphony is generally isolated into two principle composes: imitative and non-imitative. Either the different melodic lines in a polyphonic entry may sound like each other, or they might be totally autonomous in their cadence and form. In the event that the individual lines are comparative in their shapes and sounds, the polyphony is named imitative; however in the event that the strands demonstrate practically no likeness to each other, it is non-imitative. Every one of these sorts may likewise blend with or succeed one other in a melodic entry
