split tones造句
例句與造句
- Liza Lim makes extensive use of split tones in " Ehwaz " for trumpet and percussion.
- Discussions of LMC and the various modern varieties will often number these split tone classes from 1 through 8, keeping the same ordering as before.
- A third method, known as'split tones'or double buzz, produces multiphonics when a player makes his / her lips vibrate at different speeds against each other.
- Cone found that three shades of black were needed to convey continuous tone, and a fourth monochromatic ink could be used for split toning, a process of allowing a photograph to appear warmer through the shadows.
- :: " In my experience, the best way to execute a split tone is to aim for the upper note, push the lower jaw a bit forwards and purse the lips a little more than normal.
- It's difficult to find split tones in a sentence. 用split tones造句挺難的
- The " Down Beat " review by Jon Andrews says that Anderson " communicates without the harshness and split tones that alienated many listener in that era " and notes that Crispell " displays a broad range of expression from percussive rage to crystalline delicacy ."
- He has some of the elder saxophonist's alert restlessness, changing ideas in the middle of a note; and he often finishes off songs in performance with long-held split tones and extended experiments in pure sound _ devices that have long been Mitchell's signature.
- In the preface to the score, she states that split tones " tend to be unstable and prone to distortion, " and, " it is expected that a degree of fluctuation or'fraying'will occur in most split tones and this should be regarded as part of the overall timbral quality of the trumpet part ."
- In the preface to the score, she states that split tones " tend to be unstable and prone to distortion, " and, " it is expected that a degree of fluctuation or'fraying'will occur in most split tones and this should be regarded as part of the overall timbral quality of the trumpet part ."
- His explorations reached their first apex in May 1961, during a weeklong gig at the Village Vanguard, where _ joined by the quartet and saxophonist Eric Dolphy _ he ripped through standards with split tones, quadruple-time tempos, head-spinningly long solos ( up to 20 minutes with scarcely a pause or repetition ), and an insistence on squeezing a chord or a scale for every possible pattern of notes before moving on to the next.