thegoodfellas/blogset-br huggingface dataset:
aulas, voce tem interprete deLibras?Larissa: Sim possuo interprete que me auxilia muitona traducao das aulas.Como surgiu a ideia de criar o blog? Quandoele foi criado?Larissa: OBrilho de Diva foi criado em 23 de agosto de 2011. Esse blog nao e o primeiroque eu criei, eu ja tive outros blogs. O Brilho de Diva foi o ultimo que eucriei. Eu apaguei os outros blogs. Nasceu o Brilho de Diva tudo comeca de novo.Quando eu criei o Brilho de Diva, eu nao estava pensando em fazer videos detutoriais de maquiagem em libras com legendas. Apos um ano de blog,eu fiz umvideo pela primeira vez, mas nao ficou muito bom. Eu mandei muitos e-mails paraoutras blogueiras pedindo para colocar legendas nos videos delas, elas naorespondiam. Entao, estava pensando o que eu faco, o que eu posso fazer paraajudar outras meninas surdas. Entao veio a ideia eu amo a maquiagem sempreamei, posso ensinar como fazer para as meninas Decidi fazer e amei a ideia,coloquei o primeiro video no youtube em 05 de outubro de 2012. Este blog nao esomente para as pessoas surdas. Sao para pessoas surdas e ouvintes por isso queeu coloquei as legendas para que a pessoa que nao entende em libras, possaentender com as legendas.* Larissa, muito obrigada pela sua disponibilidade em participar! Nos adoramos seu blog, voce e linda e um amor! E as dicas de maquiagem sao demais! Mais uma vez, parabens pela sua iniciativa!
de mensagens de texto; telefone com sinal luminoso e controle de volume, para pessoas com baixa audicao; despertador com mecanismo vibratorio ligado a cama ou ao travesseiro; e televisao com closed caption (sistema de legenda oculta), que descreve as falas e os sons presentes na cena. Observacao: Alguns cuidados precisam ser tomados para garantir o conforto e a mobilidade do hospede com deficiencia fisica, tais como: portas mais largas no quarto e no banheiro (com um minimo de 80 centimetros); olho-magico rebaixado na porta; macaneta do tipo alavanca (em vez do tipo bola); cama com altura adequada; armario com porta de correr e cabides rebaixados ou com puxadores; escrivaninha rebaixada, com vao livre de encaixe para a cadeira de rodas; ar condicionado com controle remoto; banheiro com espaco de manobra, pia rebaixada (com vao de encaixe) e espelho inclinado; torneiras com monocomando ou sensor de movimento; barras de apoio junto ao vaso sanitario e no chuveiro, com banco basculante.Fonte: Guia Brasil Para Todos
Como ja era de se esperar o Evento foi um grande sucesso, os noivos contaram com varias amostras de servicos para organizarem o dia do casamento com planejamento e bom gosto.Judith Genez e Francisco Carlos do Instituto que conta com um amplo espaco reservado para noivas, organizaram esse dia em grande estilo, com direito a um lindo desfile de vestidos de noivas e festas da Maisa Noivas e um gostoso coquetel pelo Buffet Cristal.Julie Bicas do programa Guest - TV Taroba esteve la entrevistando os parceiros de Judith e esbanjando simpatia como sempre.Judith ao final do evento disse "Superou minhas expectativas".Nossa equipe tambem ficou muito satisfeita com o resultado desse I Fashion Noivas, fizemos muitos contatos e parcerias interessantes!!!Vejam as fotos! "Hoje estarei no Ver Mais com Larissa Zanon as 14 horas na RICTV com a entrega do album da Mais Bela desse mes...Nao percam!!!" Felipe Oliviere - Good Music Album - Coming soonVideo HD Official Facebook Pagehttp://www.facebook.com/pages/Felipe-Oliviere/222406504468570Twitterhttp://twitter.com/FelipeOliviereMyspacehttp://www.myspace.com/nfelipeoliveira Today's Guitar Solo Tip #2 is about breathing your phrases.Learning to breathe your phrases is one of the fastest and most effective ways to transform your phrasing skills from mediocre to excellent! The idea of comparing your guitar phrasing with your phrasing patterns when you speak is a very simple concept. But although simple, this is a very powerful idea that can transform the way you play. Lets look at one of the best ways to work on this now.Breathing your phrases: one of the things that come natural to us as we speak is the necessity to pause from time to time to get a breath of air. It isnt often that you hear someone saying word after word, sentence after sentence, without stopping for air! However, it does happen and most of us have been on the receiving end of a one-way conversation like that at some point. How did it make you feel? In our own experience, we feel irritated with those types of encounters. No one likes to be talked at. Heres the point we are trying to make: How many guitar-players talk at their listeners instead of trying to communicate something to them? It would appear that, for some guitarists, the whole goal of their communication is to dominate the conversation, using every technique known to man at top speed and without pause. We wonder if these players understand what effect this type of phrasing has on their listeners. Contrast that approach with a mature player who is, in fact, a virtuoso, but chooses to communicate with his audience. For sure, there will be flurries of wonderfully advanced playing fast runs, speedy arpeggios, etc. but this will be balanced with musical ideas containing beautiful vibrato, emotional note-bending, and rhythmic variation. We are not saying that fast, virtuoso playing is unemotional. It certainly is very emotional and passionate at times, and is a wonderful tool for self-expression. However, it is only one piece of the puzzle. One of the biggest problems some inexperienced players have is that they use their technical skill to cover up their poorly developed phrasing skills.
In other words, they play fast constantly to try to mask the fact that they lack the necessary skills to truly communicate and express themselves. This is a shame, but it can be corrected. Okay, so hopefully youve decided that you do not want to be a guitarist who talks at his audience with very little to say. Lets try this breathing exercise together. The point of this is to demonstrate that there is an inherent natural flow to effective communication. There must be words, notes, and substance, but there also must be space and rest. Step 1: Take a seat in your usual practice space. You should be sitting upright so that you can breathe properly. Inhale deeply as you would when you are getting ready to say something important. As you exhale, try and sing a little melody until you run out of breath. Give this a try before continuing. Did you do it? Most likely, your melody wasnt very long. Dont worry if it wasnt the greatest melody in the world. Perhaps it wasnt even an original melody... that doesnt matter. Step 2: Repeat Step 1 four (4) times in succession. The 1st time, sing a melody. Then pause, and inhale. As you exhale, make your 2nd melody an attempt to answer your 1st one. The 3rd time, sing another new melody, and the 4th time, attempt to answer the 3rd melody. This process is called call and response. Many great blues singers and guitarists have mastered this technique (but this technique can be found in all styles of music). If youve done this, you now have four (4) bars of naturally flowing music that you composed, and you didnt even touch your guitar. Make sure and practice doing this in as many musical situations as possible. Here are a few possibilities: the next time you are composing a song or melody, try this breathing method first. Sing your melodies along with the chords. Do this over and over until you find a melody you like. Then get your guitar and learn the notes. Also, be creative with this exercise. Use different rhythmic groupings, inflections, and dynamics. Use your imagination!
Imagens Gratis - Fotos de Famosos - Imagens de Jogos - Fotos de CarrosVisite:http://imagensgratis.com.br/ Your ability to play and create your own awesome guitar solos will be determined mainly by your guitar phrasing skills. Think about your favorite guitar players. We think you will agree that what makes their guitar solos great is not what they play, but HOW they play it! The definition of Phrasing is HOW you play what you play. One of the reasons many guitarists lack good phrasing skills is that they allow their fingers to create the music instead of their mind. Unfortunately, there sometimes seems to be a disconnection between the fingers and the brain. When it comes to guitar phrasing you must train your mind to think in phrases as you play. Heres what we mean. When we are speaking, we do so in a way that is naturally broken up into short sentences. We usually pause at the end of sentences before continuing on with the next sentence. These natural pauses allow us to make our point in a way that is clear to the listener. If we didnt pause between sentences, our speech would be confusing and would likely irritate the listener. Many guitar players lack these basic phrasing skills that come so easily to us in speech. So what can you do to improve your own ability to think and play in phrases? Here is a valuable exercise we want you to try: Find a backing track you like without any lead guitar on itjust drums, bass, and maybe rhythm guitarand as you play the track, try and sing the equivalent of a musical sentence. Dont worry if your voice isnt the greatest in the world (ours certainly isnt!). Just sing any melody that comes to mind over the track. Then pause. Then sing another melody. Pause. Repeat. Continue this for one minute and you will have created a musical paragraph consisting of several musical sentences. If you practice doing this often enough you will start to change the way you think about your own soloing and phrasing. The emphasis becomes more about communication and self-expression instead of just playing licks and patterns. Now, for the second part of this exercise pick up your guitar and do the same thing. The only difference now is that instead of singing the musical sentence you are now playing it on your guitar. First play a melody on your guitar. Keep in mind all that we have talked about so far. Then pause. Then play another short melody. Repeat this for one minute. If you have a way to record yourself going through this process you can listen back and make your own judgment about how you think your musical paragraph sounds. Doing this musical exercise is a very powerful way you can begin training your mind to work in tandem with your fingers to begin improving your phrasing today! Pull-Off Playing (incl. Hammer-Ons)When you see or hear the word legato, it usually means to play a given passage smoothly or flowingly. When you pick
a note, you hear a certain articulation. The best way to approach a legato passage is with the use of hammer-ons and pull-offs. Start with a couple of fluttering exercises (trills) like these:1). Flutter for one full minute, nonstop between your first and second fingers. Keep it strong, clean and even. Then do it between your first and third, then the first and fourth, fingers.2). Do the same thing except this time, flutter between your second and third fingers, then your second and fourth, then try between the third and fourth.The object is to get each pair of fingers equally strong when trilling. You can see that it will take some time for this to happen cleanly, but when it does, the dexterity and coordination of your left hand will double.This is a great exercise for legato playing. Try it with three fingers. Start with A on the high E string (5th fret). Now, hammer to a B with your third finger; then hammer to a C with your fourth finger. Pull off with your fourth finger, sounding the B. Pull off with your third finger, sounding the A (do not re-attack the string with the pick). Repeat the process. Keep this going until you cant stand it. Do it with a metronome and be sure youre in synch. After this, try every combination of fingers you can think of.This next technique involves changing from one string to another and having the notes sound clean without picking them.To do this, hammer the note on the preceding string with your finger. This will cause the note to sound. Try plucking an A on the E string as before; hammer to the B; then hammer to the C. Pull off back to B; then pull off to A. After this, hammer with your fourth finger, G on the B string (8th fret). Then pull off to an E on the B string (5th fret). Now youre where you started, but one string over. Continue doing this to each string in turn. The object is to get an even, steady flow from one string to the next. Practice this on every fret, forward and backward.When practicing this and all other exercises, be sure to do them high on the neck where the frets are tiny. This is good for becoming a screamer. Below is an example of this exercise starting on the 5th fret and going across the strings: There are many possibilities that this technique will open up to you. Here are some things to try:a). Try going across the strings in this manner with every combination of fingers you can.b). Try it with a metronome and group the notes in even 16ths. Then try triplets.c). Go across the strings, diatonic to any given key that you desire.d). Do this exercise while moving up the neck.Allan Holdsworth is a master of this playing style.
Here is Guitar Solo Tip #4 - Rhythmic Variety in Your Phrasing When guitarists first learn to improvise, they usually begin by using scale sequences and arpeggios to create phrases and melodic ideas. All of this is great and necessary, but one of the drawbacks is that often these types of ideas are very predictable rhythmically. Being predictable is not entirely a bad thing. We need to have recognizable types of melodies and rhythms in our phrasing for most people to enjoy it. But when predictability in our phrasing becomes boring, not only to others but also for ourselves, it is an indication that something needs to change. When we get to this point in our playing we usually get frustrated and say we are in a rut. Then we think we should seek out new information, new licks, new scales, or different techniques. While all of this may help oftentimes we just need to learn to apply the skills we already have in new ways. This is where rhythmic variety can do wonders! Spicing up your phrasing with interesting rhythmic ideas is a great way to break out of the same old worn out ideas. Usually scale and arpeggio patterns are played in even groups of 8th notes, 16th notes, triplets or 16th note triplets. You can think of these as groups of 2s, 4s, 3s and 6s respectively. What makes these predictable is that many times there is no deviance to the rhythmic pattern. So why not mix a few of these patterns together? Here are 3 ideas you can try now: 1. Combine different rhythmic groupings together within the same phrase. For example start by playing eight notes using 16th notes and then six notes using triplets. This type of thing creates rhythmic interest in your phrasing. 2. Use odd note groupings. Choose any 5 notes and play them as a repeating 16th note phrase. If you try this with a metronome at a moderate tempo youll hear that a different note lands on beat one every measure! 3. Try to mix in phrases that do not completely match any particular rhythm. If you listen to good horn players they often play very fluid floating phrases that sound like a flurry of notes without any rhythmic structure, but they usually come out landing squarely on the beat. Practice doing this with your own phrases! Two-Handed ChordsBecause the guitar is tuned in 4ths and the average player has a span of 6 to 7 frets, it is harder to voice certain types of chords on this instrument than it is on a piano or a harp, for instance. There are some unconventional ways to play chords on the guitar and get certain tensions and chord tones that you might not normally be able to get. One way is to detune the guitar so the notes you want are within your reach. Another way is to use the right-hand fingers to fret notes. Soon this technique will be less unconventional. [Note: these articles were originally written in 1984].Start by playing an
A barre chord in the 5th position: A on the low E string, E on the A string, A on the D string and C# on the G string. Stop there. Hammer the first finger of your right hand onto the E on the B string (17th fret).Try to come up with at least 100 of these chords using your right hand in this manner.Now try the same chord as above, but adding another right-hand finger. With your third finger (right hand), hammer the B on the E string (19th fret) as well, so that youre now hammering two notes simultaneously with your right hand.From here, go back to the 100 chords you wrote out and use two fingers from your right hand to voice them. When this is complete, try adding three fingers from your right hand for more combinations.Another thing to try when building chords with two hands is to play a triad (4-part chord) in the higher register of the guitar, while fretting a bass note down with your right hand.A cluster is a chord that is voiced with its chord-tones close together. These chord forms hit you right between the eyes when you hear them. When using conventional tuning, its possible to play clusters on the guitar only through the use of right-hand fretting. Here are some to hurt yourself with:
Here is Guitar Solo Tip #3 - The Importance of Vibrato in PhrasingHaving a well-developed vibrato is one of the signs of a great guitarist. Vibrato is also one of the most expressive techniques we have as guitarists, and its importance to our phrasing skills cannot be overstated. Possessing a strong and controlled vibrato will give life to even the simplest of phrases, and will make your best phrases sparkle and shine! Vibrato tends to be one of the most under-developed skills that many guitarists have, primarily because little, if any, time is allotted to it in their practice sessions. In order to work effectively on vibrato you need to do two things: 1. Practice the physical technique of applying vibrato to your phrases. We recommend doing this in isolation without any music playing in the background. Work on everything from hand positioning to the speed and width of your vibrato. Practice applying vibrato to your favorite licks. Try adding vibrato to the end of phrases. Adding vibrato to bent notes is one of the most expressive things you can do as a guitarist, so make sure and spend some time doing that. If you arent sure of the proper physical technique and hand positioning of applying vibrato, seek out an experienced teacher or at the very least watch and listen to players who do have great vibrato. We recommend Yngwie Malmsteen, John Sykes, and George Lynch to begin with. 2. Practice applying your vibrato in a real musical situation. This could be with your band, playing along with a favorite CD or playing over a backing track. For this example lets use the backing track idea. Find a backing track in a style you like and a key you are familiar with. Then simply begin improvising along with the track paying special attention to your application of vibrato. As you do this make sure that your vibrato is in sync with the music. The pulse of your vibrato should match the pulse of the music. Also make sure that your vibrato is in tune with the music. Nothing sounds worse than out of tune vibrato! Working hard on getting a well-developed vibrato will be time invested wisely. The benefits to your playing should be obvious by now and your phrasing skills will begin to have new vitality and life! Skipping Strings While PlayingNext time youre playing and you feel as if youre in a rut, try jumping and skipping strings for different effects. For example:1) Solo and restrict yourself to playing on any two strings that are one string away from each other (high E and G, for example.)2) Try skipping two strings and restrict yourself to only two strings (the A string and the B string, for example.)3) Try skipping three strings. Confine yourself to only the low E and B strings, etc.Try doing one of these examples for ten full minutes without leaving the parameters of the rules. Then try it for longer periods. You will find yourself coming up with melodies and licks you may never have thought
of otherwise. This is also a good exercise in concentration.Octave displacement is one approach. It consists of changing the octaves of some of the notes in a familiar lick, then relearning it. Heres one example:You can do this with your scales, too:There are many variations with which you can experiment. Write a few thousand of your own.Another type of octave displacement consists of playing a lick of, say, three notes next to each other. Then do the same lick, but drop it or raise it an octave. Try dropping or raising it another octave.Octave displacement can also be used on chord forms. For example, play the notes D on the G string (19th fret), G on the B string (20th fret) and A on the E string (17th fret). This outlines a G2 triad. Now take this whole voicing down an octave to D on the D string (12th fret), G on the G string (12th fret) and A on the B string (10th fret). You can even take it down another octave.Do this with several of your favorite triads. String them together in different order. Record them with a drum machine and solo over them using the octave displacement and string jumping exercises outlined above.But most importantly, have fun!