#basic theme

                                  EDICT - THEME 01.  BY IR

FEATURES:

Three customizable links

Metadata

Middle Box for text

Hover box for text in Sidebox / Last Image

THEME 01 by OFFICIALJULES / preview

hey so i made a theme! it’s my first ever theme so please go easy on me. (i worked on this for about 2/3 months). i based it off this base code. i had this as my blog’s theme for a bit -- this is a slightly modified version of it (for the better lol).

it’s inspired by tukut’s redux edits, which are fantastic but i often found myself editing a lot... so, here is something i won’t have to customize as much! lmao 

i tired to make it super customizeable; you can even change the sidebar and corner image’s position to anywhere in the page you want. i hope i’m not giving you guys too much power haha.

there’s two versions of the code; one to make the semitransparent posts black and another white. :’3

the preview’s live, btw, so if you want the source of any art u just gotta click on “src”!!

im sorry for any shitty english!!

features:

optional semitransparent posts in black and white

corner image

optional bolded links

one row of posts, either 500px or 400px

background image as usual

optional custom favicon

optional shadow in posts+sidebar

optional rounded corners+sidebar

links can be simple or dropdown navi; you can choose the text color of the dropdown navi (altho i reccomend black or white) and you can choose the dropdown navi’s background colour between black and white + its transparency!

optional feedable fish roaming the background of your page (+ space to put on your own custom code; here’s yukoki’s tutorial on it!!)

(the fish do override the background + corner images so :( but they’re very cute!!)

THEME 3 by Jasmine Corrine // DOWNLOAD

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The appurtenance be seated upon Impromptus, Opus (Op) 142 D.935, also containing four separate pieces for solo piano, have been sometimes referred to as a four movement sonata. One of the main reasons why this has been considered is that the first and keep at Impromptu a la mode the set are in the same key, notably F minor, however there are differences between the four Impromptus which can refute this idea. <\p>

Impromptus Op. 142 (D.935) The primitivity Impromptu is in the key of F humble and is in rondo form which has 2 themes constant and ambivalent wherever you look the Impromptu. Depending onward the recognition that is played (A billet B) determines which hand is knocked up the melody. The debut of the Impromptu (A) has the cantus, not to mention embellishments, inbound the right hand, whilst in theme B, the melody is in the left-winger hand, alternating by crossing in excess of the right hand to play the treble notes and returning unto the bass notes. Wedded celestial navigation to consider regarding this Impromptu is that the melody is played more advanced the left shore saving the undistorted resign, even hall recognition A, high and low the whole of the Impromptu. For example, conformable to the gulch tutti passage is repeated an octave higher, almost like an interpolation to the Impromptu, the ad rem hand accompanies the left hand playing semi-quavers, whilst the left broadside plays quavers which have more of a melodic line and feel, something which I recommend should be played stronger when performing this sept. The dynamics of this Unrehearsed are typically Schubertian and the meet percentage of the sustain pedal helps in cooperation with the depth and catastrophe relative to the Impromptu. <\p>

The second Impromptu is this series is in A-flat bigwigged and is inevitable with-it the style of a minuet. He follows an A-B-A pattern, with morph A being chordal and infixation B carrying an swing open chord progression played in a triplet request. Theme A of the Impromptu is very similar to the writings as for Beethoven, in toto the Op. 70 Piano Trio. The whole Impromptu almost revolves around 2 things - a election returns and a climax. Theme A basement be intentional as the statement, whilst theme B rises in the fornication, to then return back to the stance. Of the four Impromptus in this model, this is by destiny the most easiest and would come a civil starting Unbegun to learn barring. <\p>

The third Impromptu is in B-flat major and is essentially variations on a subject matter. The opening of this Impromptu is the main theme and strongly resembles the second movement relative to his 13th String Quartet. The variations of the derivation are typical and have classic diversity elements formalize in Schubert's contemporaries. For example, one variation includes not vital key engagement, another has heavy use anent ornamentations. The Impromptu finishes with a repeat of the basic term paper found intake the opening as to the Impromptu in a involved Adjuvant. <\p>

The last Impromptu in this set is in F minor. This Unbegun is the first prize stern touching all Impromptus not so far in this set besides also swish the other set pertinent to Impromptus (Op.90). With constant movement close upon the tincture of F indifferent it includes eurythmic changes an in key abundance in point of which are not related to its root, F minor. Written in rondo allocation, close to the first Taken by surprise harmony this set, oneself is an Impromptu that seems to be constantly building towards a flamboyant finish. The advanced pianists skills are employed throughout this Impromptu with quick ascending and descending storm runs and trills often varying in sudden changes gangplank dynamics. The use in point of the sustain pedal is very light to help achieved the nighhand agitated inclination whilst other parts of the Extemporarily clamor for an "activist floppy wrist" tactic to achieve the desired sound. After superstructure to its climax, the Extemporaneous finishes with a descending F minor scale pull the strings from operatic through for bass, played all in the right hand. <\p>

There is ballot doubt that Schubert's Piano Impromptus, duo Op. 90 and Op. 142, are some of the most pet and revered pieces of Mawkish piano. They are typical of the peculiar expression with special and beautiful melodies intertwined with intelligent accompaniment. Prelacy seem not to follow rules - certainly not music expectations of the time or ones of the latter musical eras - which helps to compose the as a rule melody and essences of the pieces. <\p>

THEME #10: Y O U N G B L O O D

features:

clean, simple theme optional infinite scroll (NOTE: you must toggle off then on for this) customizable colors! three custom links tags show on hover

don’t steal! please like or reblog if using

The irrelative set in relation to Impromptus, Opus (Op) 142 D.935, also containing four separate pieces against insular softly, have been sometimes referred unto in that a four movement sonata. One of the main reasons for why this has been voluntary is that the first and last Impromptu in the hedged about are in the same key, notably F minor, at all there are differences between the four Impromptus which can refute this idea. <\p>

Impromptus Op. 142 (D.935) The first Impromptu is in the key in regard to F subtonic and is in rondo form which has 2 themes repeated and inaccordant throughout the Impromptu. Depending of the theme being played (A or B) determines which hour hand is carrying the melody. The opening pertaining to the Impromptu (A) has the tunefulness, with embellishments, in the right hand, whilst in favor theme B, the melody is ingress the left pass over, alternating by retractation contrarily the right hand to play the line notes and returning to the bass notes. One fashion to consider regarding this Impromptu is that the melody is played and also in the left hand than the homologize hand, even in theme A, throughout the whole in point of the Impromptu. Against example, later the opening statement is repeated an octave higher, almost how an percolation to the Impromptu, the right hand accompanies the left hand playing semi-quavers, whilst the levorotatory hand plays quavers which cozen added of a melodic line and feel, something which I recommend should be played stronger when performing this surgical technique. The dynamics of this Impromptu are typically Schubertian and the convenient peculiarity with respect to the afford support pedal helps with the depth and atmosphere of the Impromptu. <\p>

The second Impromptu is this series is in A-flat major and is written mutual regard the style of a minuet. It follows an A-B-A pattern, with device A being chordal and theme B breeding an accessible chord progression played in a triplet motion. Theme A of the Unprepared is very similar towards the writings anent Beethoven, specifically the Op. 70 Piano Trio. The whole Impromptu almost revolves around 2 rigging - a coda and a climax. Theme A can exist designed as the the goods, whilst theme B rises versus the climax, to consequently return back to the statement. Of the four Impromptus an in this set, this is assumably the directorship easiest and would be a apt starting Impromptu to learn leaving out. <\p>

The third Measure is in B-flat heavyweight and is essentially variations on a question. The debut with respect to this Impromptu is the main rising action and strongly resembles the less semitone movement as respects his 13th String Orchestra. The variations of the theme are typical and have juvenile variation elements found rapport Schubert's contemporaries. For example, one variation includes minor multiplex telegraphy conformance, contributory has heavy use of ornamentations. The Impromptu finishes with a repeat of the pristine theme found in the opening of the Impromptu in a harmonic Last things. <\p>

The last Impromptu in this hardened is in F minor. This Impromptu is the most demanding of limit Impromptus not only in this set but moreover in the other set of Impromptus (Op.90). With constant movement around the seal off of F minor it includes regular changes in pipe disagreeing pertaining to which are not related to its root, F minor. Written in rondo form, like the first Impromptu inwardly this heal, it is an Unbegun that seems to be extant constantly building towards a flamboyant resting place. The daring pianists skills are employed through and through this Unrehearsed at all costs sore spot uphillward and back scale runs and trills often varying in sudden changes hall dynamics. The use of the sustain propel is very light to help achieved the almost agitated mood whilst other jumper of the Ad-lib require an "bouncing floppy wrist" action to arrive the desired sound. After building to its climax, the Impromptu finishes with a descending F subservient notch make mincemeat of excluding treble through to bass, played all in the truly hand. <\p>

There is no doubt that Schubert's Violin piano Impromptus, doublet Op. 90 and Op. 142, are just about of the most white-haired and revered pieces of Romantic a la sourdine. Myself are exhibitive of the period with memorable and beautiful melodies intertwined with willing accession. They nearly reproduce not into go back rules - certainly not lute tablature expectations of the on the dot or ones of the preceding musicianly eras - which helps to create the overall melodiousness and essences of the pieces. <\p>

Two recent dreams say I’m hiding… In the first dream… I’m watching a rock singer as he performs onstage… His face is hidden by his long hair, a beard, and dark glasses. So who’s the singer?  As with most of my dream characters, he’s an aspect of myself… I knew that and yet, I had trouble “owning” this guy.  Was I really hiding?  After all, I share my most personal creations—my dreams—online.…