Habanera in a sentence

I was in full commuting stride when I heard the notes of the Habanera from Bizet’s “Carmen” in the distance.

About this sound Play ( help · info ) New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand.

After her beguiling "Seguidilla" provokes José to an exasperated high A sharp shout, Carmen's escape is preceded by the brief but disconcerting reprise of a fragment from the habanera.

After her provocative habanera, with its persistent insidious rhythm and changes of key, the fate motif sounds in full when Carmen throws her flower to José before departing.

Bolden's band is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march. citation As the example below shows, the second half of the big four pattern is the habanera rhythm.

Carmen has since become one of the most popular and frequently performed operas in the classical canon ; the " Habanera " from act 1 and the " Toreador Song " from act 2 are among the best known of all operatic arias.

From the perspective of African-American music, the habanera rhythm (also known as congo, Manuel, Peter (2009: 69).

Habanera rhythm written as a combination of tresillo (bottom notes) with the backbeat (top note).

He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.

In his composition "Misery," New Orleans pianist Professor Longhair (Henry Roeland Byrd) plays a habanera-like figure in his left hand.

Jazz pioneer Jelly Roll Morton considered the tresillo/habanera rhythm (which he called the Spanish tinge ) to be an essential ingredient of jazz.

Music Carmen sings the "Habanera", act 1 Hervé Lacombe, in his survey of 19th-century French opera, contends that Carmen is one of the few works from that large repertory to have stood the test of time.

Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City.

Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," Sublette, Ned (2008:155).

The habanera rhythm shown as tresillo (lower notes) with the backbeat (upper note).

This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, W. C. Handy, Father of the Blues: An Autobiography, edited by Arna Bontemps : foreword by Abbe Niles.