Synonymer & Anagram | Engelska ordet GLISSANDI

Exempel på hur du använder GLISSANDI i en mening

• The work is even more harmonically adventurous and contrapuntally complex than Bartók's previous two string quartets and explores a number of extended instrumental techniques, including sul ponticello (playing with the bow as close as possible to the bridge), col legno (playing with the wood rather than the hair of the bow), and glissandi (sliding from one note to another).
• In the third movement, Bartók sometimes indicates held notes to be played without vibrato, and in various places he asks for glissandi (sliding from one note to another) and so-called Bartók or snap pizzicati, (a pizzicato where the string rebounds against the instrument's fingerboard).
• Stoïnova also emphasizes the energy that is present in Dusapin's earlier compositions, giving credit to Dusapin's use of extreme registers, flutter tongue, trills, micro-intervals, glissandi, multiphonics, rapid articulations, drastic dynamics, and continuous breathing.
• Sørensen treats major/minor tonalities with microtonal inflections and blurs the harmonies with glissandi.
• This leads into an exact recapitulation of the piano's entrance, which now leads into a brilliant coda involving various figurations of the octave-triplet idea, as well as runs on the piano consisting entirely of ascending parallel triads and glissandi.
• The composer also employs comic elements, such as a "tipsy" middle section in the second dance, in which the ensemble abruptly slows from a lively vivace to meno mosso (quarter note = 112), whereupon a single bassoon plays a plodding solo marked by upward and downward slides, or glissandi, as well as staggering, syncopated rhythms.
• A bridge passage leads to the second subject, a gentler, grazioso theme, followed by an agitato passage described by the critic Frank Howes as "noisy with glissandi, percussion, brass, and short snaps and stutters on the strings".
• Like the sitar, the left hand technique involves playing on the frets, controlled pushing on the strings to achieve higher tones and glissandi through increased tension, and finger flicks, all reflecting the characteristics of various ragas and their ornamentation (gamaka).
• Other special effects include fluttertonguing in the flutes; muting the brasses and strings, a cymbal roll a deux (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandi; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins.
• Pathetic, mewling glissandi make an amusing leitmotif, and long strings of tremolos entwine boldly colored block sonorities.
• This section features, among other things, quavering flutes, animal noises, a yodeling voice, and both basses playing bowed harmonics and glissandi.
• The vocal writing is challenging for the singer, containing wide leaps, glissandi, humming (notated bouche fermée in the score), and even Sprechstimme, a device found in the work of the Second Viennese School before Boulez.
• This second category can be defined as a dynamic glissando, comparable to glissandi of pitch and of tempi (accelerando, ritardando).
• He employs techniques such as polyrhythm, tone clusters, polytonality, brass glissandi and polymodal chromaticism to create unique musical textures.
• This allows the glissandi and portamenti to be executed flawlessly which constitute the primary characteristics of the yaylı tambur.
• Later, Jim Lanigan picked up the bass through Chink Martin’s playing and soon became the band’s bassist; Teschemacher also began practicing the clarinet, his style showing traces of the glissandi from violin playing.
• This work contains four sections, characterized by textural and timbral attributes, such as glissandi and pizzicati.
• In this cycle, also various degrees of difficulty of the piano playing result in natural durations—for example, intervallic leaps of various sizes, or the way fingers mesh, or the bunching together of simultaneously played keys, or combinations of attacks, clusters, glissandi and the more or less complicated notation of the attack durations.
• Waller's early work was heavily focused on the avant-garde, with his use of microtonality, just intonation, new abstract forms, extensive glissandi, and isolated sonorities around frequent silences.
• Min's four-strings and 30 frets allows her to produce harp-like glissandi to meet the violinist's repeated counter tones or tautly flat pick as if she was playing a Bluegrass dobro to counter the fiddler's double stopping.

Förberedelsen av sidan tog: 210,23 ms.