Block - crossword puzzle clues

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Possible Answers: STOP, BAR, DAM, BAN, DETER, HIDE, VETO, SHUT, ESTOP, CLOT, CLOG, STALL, STREET, DEBAR, STYMIE, IMPEDE, EMBAR, DAMUP, THWART, HINDER, PREVENT, BARRIER, STOPPAGE, OCCLUDE, OBSTRUCT, CLOSEOFF, TACKLESMANEUVER, IMPEE, DAMU, CHILDSWOODENTOY.

Random information on the term “STOP”:

In music, a double stop refers to the technique of playing two notes simultaneously on a bowed stringed instrument such as a violin, a viola, a cello, or a double bass. In performing a double stop, two separate strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered (stopped), in practice one or both strings may be open.

A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping.

Early extensive examples of the double-stop and string chords appear in Carlo Farina’s Capriccio Stravagante from 1627, and in certain of the sonatas of Biagio Marini’s op. 8 of 1629.

On instruments with a curved bridge, it is difficult to bow more than two strings simultaneously. Early treatises make it clear that composers did not expect three notes to be played at once, even though the notes may be written in a way as to suggest this. Playing four notes at once is almost impossible. The normal way of playing three or four note chords is to sound the lower notes briefly and allow them to ring while the bow plays the upper notes (a broken chord). This gives the illusion of a true triple or quadruple stop. In forte, however, it is possible to play three notes at once, especially when bowed toward the fingerboard. With this technique more pressure than usual is needed on the bow, so this cannot be practiced in softer passages. This technique is mainly used in music with great force, such as the cadenza-like solo at the beginning of the last movement of Tchaikovsky’s violin concerto.

STOP on Wikipedia

Random information on the term “BAR”:

A bar in a river is an elevated region of sediment (such as sand or gravel) that has been deposited by the flow. Types of bars include mid-channel bars (also called braid bars, and common in braided rivers), point bars (common in meandering rivers), and mouth bars (common in river deltas). The locations of bars are determined by the geometry of the river and the flow through it. Bars reflect sediment supply conditions, and can show where sediment supply rate is greater than the transport capacity.

A mid-channel bar, is also often referred to as a braid bar because they are often found in braided river channels. Braided river channels are broad and shallow and found in areas where sediment is easily eroded like at a glacial outwash, or at a mountain front with high sediment loads. These types of river systems are associated with high slope, sediment supply, stream power, shear stress, and bed load transport rates.Braided rivers have complex and unpredictable channel patterns, and sediment size tends to vary among streams. It is these features that are responsible for the formations of braid bars. Braided streams are often overfed with massive amounts of sediment which creates multiple stream channels within one dominant pair of flood bank plains. These channels are separated by mid-channel or braid bars. Anastomosing river channels also create mid-channel bars, however they are typically vegetated bars, making them more permanent than the bars found in a braided river channel which have high rates of change because of the large amounts of non-cohesive sediment, lack of vegetation, and high stream powers found in braided river channels.

BAR on Wikipedia

Random information on the term “DAM”:

Dam, Bhutan is a town in Dagana District in southwestern Bhutan.

DAM on Wikipedia

Random information on the term “BAN”:

Balinese or simply Bali is a Malayo-Polynesian language spoken by 3.3 million people (as of 2000[update]) on the Indonesian island of Bali, as well as northern Nusa Penida, western Lombok and eastern Java. Most Balinese speakers also know Indonesian. Balinese itself is not mutually intelligible with Indonesian, but may be understood by Javanese speakers after some exposure.[citation needed]

In 2011, the Bali Cultural Agency estimates that the number of people still using Balinese language in their daily lives on the Bali Island does not exceed 1 million, as in urban areas their parents only introduce Indonesian language or even English, while daily conversations in the institutions and the mass media have disappeared. The written form of the Balinese language is increasingly unfamiliar and most Balinese people use the Balinese language only as a spoken tool with mixing of Indonesian language in their daily conversation. But in the transmigration areas outside Bali Island, Balinese language is extensively used and believed to play an important role in the survival of the language.

BAN on Wikipedia

Random information on the term “DAMU”:

Anda-Louise Bogza is a celebrated Romanian opera soprano. In 1994, she won both the First Prize and the Audience Prize at the Vienna International Singing Competition. In 2007, she was honored with the Thalia Award.

Anda-Louise Bogza studied music at the George Enescu Conservatory, the Academy Music of Bucharest and at the Academy of Performing Arts in Prague(piano, singing and harpsichord). She began her career performing at the State Opera and the National Theatre in Prague. She remains committed to both of those houses to this day. Among the roles which she has portrayed in Prague are Abigaille in Nabucco, Amelia in Un ballo in maschera, Donna Anna in Don Giovanni, Desdemona in Otello, Elisabetta in Don Carlo, Giorgetta in Il Tabarro Katerina in Káťa Kabanová, Leonora in Il Trovatore, Lisa in Pique Dame, Minnie in La Fanciulla del West, Sina in Hans Krása’s Verlobung im Traum, and the title roles in Aida, Jenůfa, Manon Lescaut,Tosca, Turandot.

Anda-Louise Bogza maintains an active international career as a freelance artist. She has sung Aida at the Vienna State Opera, the Berlin State Opera, the Deutsche Oper Berlin, and the Opera Leipzig. She has portrayed Tosca at the Maggio Musicale Fiorentino, the Bavarian State Opera, Opera Frankfort, Grand Théâtre de Bordeaux, the New Israeli Opera, the Grand Théâtre de Luxembourg, the Slovak National Theatre, in Japan, the Romanian National Opera, and at the Salzburg Festival. Another signature role, Leonora in Il Trovatore, has brought her to the stages of the Hamburg State Opera, the Hungarian State Opera, the Royal Danish Theatre, the Teatro de la Maestranza, and to opera houses in the United States. She has also sung at Suntory Hall in Tokyo and Opéra de Marseille. In 2005 she made her first appearance at the Opéra National de Paris in the title role of Dvořák’s Rusalka.

DAMU on Wikipedia