Definition, Betydelse & Anagram | Engelska ordet PIECE'S

Definition av PIECE'S

1. böjningsform av piece

Exempel på hur du använder PIECE'S i en mening

• In chess, a pin is a tactic in which a defending piece cannot move out of an attacking piece's line of attack without exposing a more valuable defending piece.
• They're strong, punchy tales which his glittering 'technosleaze' trademark: some are obvious precursors of the novels, and the fine title piece's hair-raising cyberspace jaunt is echoed all too closely in Neuromancer.
• Although his music had its detractors, some musicians received it positively: after hearing Sorabji's Le jardin parfumé—Poem for Piano Solo in 1930, the English composer Frederick Delius sent him a letter admiring the piece's "real sensuous beauty", and around the 1920s, the French pianist Alfred Cortot and the Austrian composer Alban Berg took an interest in his work.
• The piece, for all its dissonance, remains firmly in E major until the B–F tritone shatters the work's climax at the piece's end.
• Generally, the motifs on a piece's right and left sides correspond to one another in every detail; when they do not, the individual motifs themselves are entirely symmetrical in composition: antique heads with identical tresses falling onto each shoulder, frontal figures of Victory with symmetrically arrayed tunics, identical rosettes or swans flanking a lock plate, etc.
• The piece's villain espouses views that the elderly and incapacitated deserve to die in order to lighten the burden on the overtaxed medical system—quite contrary to the view of "do no harm" held by both the novel's main character and author.
• Among his better known works is Les Heures persanes, a set of piano pieces based on the novel Vers Ispahan by Pierre Loti and The Seven Stars Symphony, a 7 movement symphony where each movement is themed around a different film star (all Silent era stars) who were popular at the time of the piece's writing (1933).
• The well known, traditional account of this incident states that the emperor happened across a copy of Sima's "Fu of Sir Vacuous", and was so impressed by it that he exclaimed, "Why do I not have the privilege of being this man's contemporary?!" The account states that Yang Deyi, the keeper of the imperial hounds and a native of Shu, happened to overhear the emperor's exclamation, and informed him that Sima was the piece's author, whereupon Emperor Wu immediately had Sima summoned to the imperial capital.
• The piece is notated in the identically sounding keys of F-sharp major or G-flat major, because most of the piece's notes are played on black keys in those keys, making the fingering easier.
• By paying Gyullas crystals, which are earned by moving Gulled stones or by capturing your opponent's Maseitai, players can dratp Navia or Maseitai pieces, which allows the player to flip over the piece's compass, granting it different movement capabilities or other abilities.
• Its forlorn right-hand chords are offset by thundering, sforzando left-hand tremolos, which are interrupted and calmed into submission by the sudden call of battle trumpets, leading into the piece's next theme.
• The melodic and rhythmic features of this section's first and second themes are in essence based upon motifs introduced in the opening, and are played alongside an rhythmic "eighth-note pulsation", an accompaniment which returns in the piece's fourth movement.
• The initial ritornello already features a hesitant rhythm, with syncopations and hemiolas taking away from the piece's regularity: combined with the use of the alto voice (usually associated with fear or doubt), this suggests an attempt to translate into music the doubts which beset the Christian soul.
• Though most often abbreviated "Canticum Sacrum", the piece's full name is Canticum Sacrum ad honorem Sancti Marci Nominis, or Canticle to Honor the Name of Saint Mark.
• Unfortunately, Gieseking (who had performed in the premiere of the piano trio Vitebsk in New York in 1929) turned down Copland's request for a premiere due to the piece's "crude dissonances" and "severity of style".
• The piece's appearance in the first film was timed to bring a dramatic tone to the end of the film, in which Zep Hindle is revealed to actually be a victim of the Jigsaw Killer (the character's name in the script is spelled "Zep" but the music titles are spelled "Zepp").
• Lay has commented on the piece's "japoniste perspective" and "robust linearity", its "schematization of form" and "stylistic overtures to artless sincerity", which he argues lend the picture an "iconic bearing" and its subject a "saintly stature".
• There is a ritardando leading into the repeat of the final theme, segueing to the piece's conclusion.
• The box containing the macarons depicts de Taillac's "Rainbow" necklace, featuring gold sequins and the piece's multicolored briolette gemstone.
• Its middle section is in A major, and this section's second theme is recapitulated near the piece's end in F-sharp.

Förberedelsen av sidan tog: 91,94 ms.