split tone造句

例句与造句

1. Liza Lim makes extensive use of split tones in " Ehwaz " for trumpet and percussion.
2. 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.
3. 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.
4. 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.
5. :: " 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.
6. It's difficult to find split tone in a sentence. 用split tone造句挺难的
7. 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 ."
8. 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.
9. 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 ."
10. 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 ."
11. 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.