Definition & Betydelse | Engelska ordet SIXTHS

Definition av SIXTHS

1. böjningsform av sixth

Exempel på hur man kan använda SIXTHS i en mening

• This influence can also be seen in the D major Concerto; the 'martial' opening with the beat of the timpani follows the style of French music at the time, while the prevalence of figures in broken sixths and broken octaves closely resembles elements of compositions by Kreutzer and Viotti.
• Souvanna Phomma had at least thirteen wives: the first was a commoner, the second was the daughter of King Sukaseum, the third was a daughter of King Chantharat, the fourth was from an unknown royal lineage, and both the fifth and sixths were his half-sisters; the next seven wives were all commoners.
• The words are chosen for their abundance of s and th sounds; sixths alone packs one th and three s sounds into one syllable.
• It can follow the standard voice-leading rules of classical harmony, as in string quartets or Bach chorales, or proceed in parallel motion with the melody in thirds or sixths.
• In the common practice period, thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in medieval times they were considered dissonances unusable in a stable final sonority.
• In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds.
• In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds, but in medieval times they were considered dissonances unusable in a stable final sonority.
• The perceived advantage of such a system was its use in some aspects of mental arithmetic, as it afforded many factors and hence fractions of a pound such as tenths, eighths, sixths and even sevenths and ninths if the guinea (worth 21 shillings) was used.
• It starts with a fast but delicate sixteen chromatic-note arpeggio divided in thirds and sixths under an irregular rhythmic subdivision and cadenza so as to underline the atmosphere implied in its title.
• Since they span the same number of semitones, perfect fifths and diminished sixths are considered to be enharmonically equivalent.
• The music historian Charles Burney wrote about appearances of the pair: "Franziska Danzi and the excellent oboist Lebrun usually travel together, and it seems as though she has listened to nothing other than his instrument, for when they perform together in thirds and sixths one cannot hear which is the upper or the lower voice!".
• Franz Liszt's piano transcription of Hector Berlioz's Symphonie fantastique contains, in an ossia (optional replacement measure) in the finale, a glissando in sixths played upward with the right hand.
• This includes chords like dominant sevenths, major sixths, and minor ninths, but not major or minor triads, or other "specific" triadic forms, which Wayne concluded were rarely useful for jazz.
• It depicts God's love in "almost naive-sounding parallel sixths and thirds", consonances in "unanimity of movement" being an image of unity that would be understood by the audience at the time.
• It is written in the style of a Venetian barcarolle, which, according to Dubal, is engendered by the main theme's "euphonious thirds and sixths".
• Nectoux singles out "the light footed episode in alternating fifths and sixths" and its extremely delicate passagework, and points to the influence of Fauré's former teacher Saint-Saëns in the allegro ma non troppo toccata section.
• Venetian mediation led to the signing of a truce of all involved parties on 19 June 1319; Bartholomew signed it along with the Venetian bailo of Negroponte, Francesco Dandolo, John de Noyer de Maisey, triarch of the southern third of Euboea, Pietro dalle Carceri and Andrea Corner, lords of the two northern sixths of the island, and Alfonso Fadrique for the Catalans.
• Consisting of eleven pieces, among them the melodic gavotte, the two-part Bourrée, and the Gigue in sonata form, the collection presents many technical challenges such as the use of overlapping octaves, doubling in thirds and sixths, and pedaling.

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