Natural Rhythm - Fling
The table below explains the abbreviations used throughout this site and gives brief comments on my definitions of some tune rhythms. Rhythms not included here are considered self-explanatory. For more definitions, I recommend consulting CITM (see the Bibliography). For a complete list of the rhythm categories I use, see the Rhythm Distribution report.
Natural Rhythm - Fling
Difference between jig and reel: (for non-musicians) To tell whether a tune you're listening to is a jig or a reel, let your foot tap along with the music at a natural pace, then see how many fast notes you count between each tap. If you can count to 3, it's a jig. If you can count to 4, it's a reel. To get more precise, keep reading below.
About the term "Jig": (for non-musicians) There are actually several different Irish rhythms which have the term "jig" in their name (see list below). But double jigs are definitely the rhythm you hear most often, so when people say "jig," they generally mean a double jig. Double jigs have three notes per beat, and every other beat is a downbeat. Try saying "rashers and sausages" three times fast. That's a double jig rhythm. For a more complete definition, see "double jig" below.
You will sometimes see notes referring to a reel being "singled" or "doubled." This only refers to whether or not the eight-bar parts of the tune are repeated and not to the unique rhythm of "single reels" (see below). See also the interesting chart Structure of Reels. Reels, far more than any other Irish rhythm, come in a wide variety of lengths and structural forms.
These terms exist only among Irish step dancers. They are not used in any other kind of Irish dance (sets, ceili, or sean nós) and definitely not among any Irish traditional musicians. In my experience playing for Irish step dancers at competitive feiseanna, the two equivalent terms "heavy jig" and "treble jig" describe a totally unique kind of rhythm, which I had to learn how to play especially for this unique situation.
What's particularly confusing is that the repertoire used to play "heavy jigs" for step dancers is double jigs, but played instead as heavy jigs. Only some double jigs work well as heavy jigs. Each musician will have to experiment and practice to determine which of his or her double jigs he or she finds comfortable playing as a heavy jig. I recommend that the best way for musicians to learn this rhythm is to practice playing for Irish step dancers who are very good and confident at dancing heavy jigs.
Note that slides are peculiar to the Southwest of Ireland, and some are directly related to double jigs, single jigs, or hornpipes played elsewhere in Ireland. Musicians quite familiar with slides are generally unfamiliar with single jigs, and some otherwise respectable authorities on the slide have rashly pronounced that single jigs "are the same as slides." We can have some sympathy with that by understanding that these musicians simply use the term "single jig" to mean "slide," and are apparently unaware of the existence of the distinctive "single jig" rhythm in Irish music. Over the course of the 20th century the customary notation for slides shifted from 6/8 to 12/8, which I think is an improvement in accuracy. However, I have given bar counts for slides here according to the 6/8 notation, for the very practical reason that the set dancers count them that way! See Top Ten Slides for examples.
The Grammy-nominated band overflows with creativity, resulting in records that don't sound like straight-forward rock records. Each member brings a different rhythm to the music. Aubert along with bandmates Nikki Monninger (bass/vocals), Chris Guanlao (drums) and Joe Lester (keyboards) have stayed consistent through the years.
Brant Daugherty: Up first, Peta and Brant are already playing up the "showmance" on their pre-dance clips. Only time will tell if this "fling" is real or fake. Brant looks like he has natural rhythm. He is quite stiff through his legs on his Cha Cha locks. If he can loosen up more and make it more of a fluid movement, he would do a lot better throughout the basics. This couple is a striking pair together and Brant seriously has a winning smile. If nothing else Brant, just get out there and flash those pearly whites and you know you'll have at least one judge behind you. (And I'm not talking about Carrie-Ann!) This routine for me was good! I give them a 7.3.
Leah Remini: Such a fan of hers. I love seeing her on the dance floor with such natural grace and flow. I love the sass she brings and how she attacks the dance like I see her do in her comedic acting. I think she has much more in her though, so I'm excited to see what Tony does with her the rest of the season. Bruno, just a tip - this woman and Miley Cyrus don't even belong in the same sentence together! I'm surprised she held her composure as well as she did. Good job! I give them a 7. 2.
Jack Osbourne: Jack Osborne in the house! How can you not love this guy, he came from Ozzy Osbourne's DNA. He's got "epic" in his blood. And I love that he is doing this for a great cause, MS. What a brave soul he is to enter into such an intense journey under the circumstances. Jack already has a nice topline and has really great rhythm and feel for dance. I think he will do well! I loved this routine from top to bottom. Great job to his partner Cheryl. For me, he is one to watch. This routine was good! I give them a 7.5.
Amber Riley: Amber Riley is already winning over my heart with her humility and humor - and this girl can dance!! Technically the best of the night for me, so far. Naturally good feet, natural body rhythm and hip movement, stepping on straight legs, not losing her connection to the floor. Very impressive! She may be my favorite girl of the season. Very excited to see where her journey goes. No doubt it'll be a good one. This routine was great. I give it an 8.
Keyshawn Johnson: I understand he has a fear of being in front of people. His courage to come on this show is a notable one and a mark of a world class athlete. His partner, Sharna Burgess, being in all gold was either a smart move and a classic "DWTS" costume distraction or not intentional and just so happened to work very well for them. The times that I did see him, he lacked rhythm and needs to work on his footwork. He was a wide receiver so I expect some fast, agile feet! Hopefully Sharna can bring that out of him throughout the season in, which I have no doubt she will. Great, fun routine. 6.7!
Nicole "Snooki" Polizzi: Snooki, the most controversial figure of the season. What a transformation from her "Jersey Shore" days! She's a 'lil diva. I really enjoyed the performance! She had great charisma and is a natural performer. Good job to the pair of them. 7.7.
Your body has a natural window of sleep as part of your ideal circadian rhythm. This ideal sleep window is genetically pre-set and can shift throughout the phases of life. For example, teenagers have been shown to naturally go to bed a bit later than other adults and wake up later in the morning. However, that trend is being skewed by the overstimulation of phones, tablets, and bright light.
Some very small insects make use not of steady-state aerodynamics, but of the Weis-Fogh clap and fling mechanism, generating large lift forces at the expense of wear and tear on the wings. Many insects can hover, maintaining height and controlling their position. Some insects such as moths have the forewings coupled to the hindwings so these can work in unison.
Clap and fling, or the Weis-Fogh mechanism, discovered by the Danish zoologist Torkel Weis-Fogh, is a lift generation method utilized during small insect flight. As insect sizes become less than 1 mm, viscous forces become dominant and the efficacy of lift generation from an airfoil decreases drastically. Starting from the clap position, the two wings fling apart and rotate about the trailing edge. The wings then separate and sweep horizontally until the end of the downstroke. Next, the wings pronate and utilize the leading edge during an upstroke rowing motion. As the clap motion begins, the leading edges meet and rotate together until the gap vanishes. Initially, it was thought that the wings were touching, but several incidents indicate a gap between the wings and suggest it provides an aerodynamic benefit.
Lift generation from the clap and fling mechanism occurs during several processes throughout the motion. First, the mechanism relies on a wing-wing interaction, as a single wing motion does not produce sufficient lift. As the wings rotate about the trailing edge in the flinging motion, air rushes into the created gap and generates a strong leading edge vortex, and a second one developing at the wingtips. A third, weaker, vortex develops on the trailing edge. The strength of the developing vortices relies, in-part, on the initial gap of the inter-wing separation at the start of the flinging motion. With a decreased gap inter-wing gap indicating a larger lift generation, at the cost of larger drag forces. The implementation of a heaving motion during fling, flexible wings, and a delayed stall mechanism were found to reinforce vortex stability and attachment. Finally, to compensate the overall lower lift production during low Reynolds number flight (with laminar flow), tiny insects often have a higher stroke frequency to generate wing-tip velocities that are comparable to larger insects.
The overall largest expected drag forces occur during the dorsal fling motion, as the wings need to separate and rotate. The attenuation of the large drag forces occur through several mechanisms. Flexible wings were found to decrease the drag in flinging motion by up to 50% and further reduce the overall drag through the entire wing stroke when compared to rigid wings. Bristles on the wing edges, as seen in Encarsia formosa, cause a porosity in the flow which augments and reduces the drag forces, at the cost of lower lift generation. Further, the inter-wing separation before fling plays an important role in the overall effect of drag. As the distance increases between the wings, the overall drag decreases. 041b061a72