例句與造句

1. On his final appearance of the season, Distant Music contested Britain's most prestigious race for two-year-olds, the Group One Dewhurst Stakes over seven furlongs at Newmarket Racecourse on 16 October.
2. Paranormal investigator Peter Underwood once spent a night there during which he claimed to have heard the sound of distant music and to have seen a white glowing cross on one of the walls, which disappeared and then reappeared.
3. When the International Classifiaction for the two-year-old on 1999 was released in January 2000, Fasliyev was rated the best of his generation in Europe with a rating of 125, five pounds clear of Distant Music and Giant's Causeway.
4. Khalid Abdullah's racing manager Teddy Beckett commented " There has been nothing physically wrong with Distant Music, but he just wasn't right and it was a question of giving him as much time as he needed to come back to form.
5. Exploring pop music and uncovering little-known repertory, then, may be the only ways von Otter can resolve an issue that perplexes many classically trained artists today : how to incorporate the musical present and inject variety into careers that tend to center on increasingly distant music history.
6. It's difficult to find distant music in a sentence. 用distant music造句挺難的
7. Other Europeans in the Mile are Dansili, a stakes winner in France in his last start; Distant Music, third in the Dubai Champion behind Kalanisi and Montjeu; and Indian Lodge, winner of the one-mile Queen Elizabeth II in England and the seven-furlong Prix de la Foret in France in his last two starts.
8. According to Barrow in 1806, the instrument sounds " like the faint murmurs of distant music that'comes o'er the ear'without any distinction of notes . " Barnard in 1910 noted the loudness of the instrument, while Alberti in 1810 compared the sounds to the, " tones of the so-called Hunting-horn, " presumably a reference to the shared use of the harmonic series.
9. The famous two-and-a-half minute non-kiss kiss begins with distant music when it commences out on the balcony, but goes silent when the couple move inside " to their private world, imparting an austere eroticism as the camera glides with them . " Other times, they flout conventional wisdom : when Alicia asks the band to stop playing stuffy waltzes and liven things up with Brazilian music to cover her trip to the wine cellar with Devlin, " Hitchcock takes the risk of relying entirely on Latin dance tunes rather than on a suspense cue . " So it's Brazilian syncopation snaking through Ted Tetzlaff's shadowy lighting and the explosion of a smashing wine bottle and it gives the scene a unique tension.
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