Definition, Betydelse & Anagram | Engelska ordet PIANO'S

Definition av PIANO'S

1. böjningsform av piano

Exempel på hur man kan använda PIANO'S i en mening

• Tatum also extended jazz piano's vocabulary and boundaries far beyond his initial stride influences, and established new ground through innovative use of reharmonization, voicing, and bitonality.
• In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen".
• As in Beethoven's Waldstein sonata, the coda is unusually long, containing quasi-improvisational arpeggios which span most of the early 19th-century piano's range.
• It has exceptionally complete performer expression features, such as a layered keyboard that was both velocity-sensitive (like a piano's) and pressure-sensitive ("after-touch") but unlike most modern keyboards the aftertouch could be applied to individual voices rather than in common, and a ribbon controller allowing for polyphonic pitch-bends and glissandos.
• The cor anglais reintroduces the opening theme beneath the piano's "delicate filigree in the high register".
• Not so traditional is the dramatic piano cadenza which first introduces the soloist and prefigures the piano's statement of the opening material.
• The piano's entrance resembles an Eingang, an improvisatory passage from Mozart's day that would have occurred after the orchestra's last unresolved dominant chord, but before the piano played the main theme.
• Whereas an electronic piano's sustain pedal is a momentary, non-latching switch depressed to provide sustain, and then released to end the sustained note, a bass pedal unit's electronic sustain is a latching switch, which, when clicked on automatically sustains all notes for a fixed, short period after the pedal is released.
• The major-mode themes are accorded slightly less space this time around before A minor returns in the form of a quiet pair of octaves, F in tremolo in the left hand and A held in the right, occasionally alternating with the scurrying sixteenths; over which the violin plays the longer version of its main theme from the first movement, twice, then, crescendo, joins in the piano's perpetual motion frenzy until a recall of the canonic theme that had opened the development is reached - now played sforzando (mit Violoncell, Schumann also writes), opening the last stage of the coda punctuating the rush to the final chords sixteen bars later.
• Pressing the sustain pedal also causes all the strings to vibrate sympathetically with whichever notes are being played, which greatly enriches the piano's tone.
• 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.
• Pedler also claims that another interesting moment in the song is that George Martin's piano part alternates not between G and E minor, but G and E major, the presence of the piano's extra G# (the major 3rd of the E chord) creating a "grating, tense colouring" in comparison to a G natural of the guitar's Em chord.
• The third movement is a passacaglia based on the piano's opening eight-bar bass line, which is derived from the first theme of the Pantoum.
• " Reviewer Thom Jurek says that "what is immediately striking is the lack of the piano's sonic presence on the session" but that the Burrel is "everywhere.
• After a series of stretti that extend the outer voices to the very edges of the piano's range, the subject becomes rhythmically fragmented and irregular, eventually alighting on the final pitch class A, with which the entire work began.
• This added a fourth, sympathetic (aliquot) string to each trichord group in the treble to enrich the piano's weakest register by enhancing the overtone spectrum of the instrument.
• After a seventh interruption (which gives the pianist the opportunity to position the gangsa over the piano's lowest strings), a majestic restatement of the Visayan lullaby theme gradually subsides, bringing the whole work to a quiet close.
• Frahm ensures that the piano's chords reflect the mood of the current scene, using minor keys for sadder scenes and slightly jazzier tones for happier ones.
• Thompson described "Parfum d'étoiles" as "an almost improvised sounding piano number", and observed that the sound of the piano's hammers striking its strings could be heard with each keystroke.

Förberedelsen av sidan tog: 101,05 ms.