Music-An-Appreciation-Brief
... 39. If a string player uses vibrato, it is most likely because A. the performer is unsure of the correct pitch. B. the performer is nervous. C. using vibrato is easier than not using it, and no one can hear the fluctuations anyway. D. using vibrato makes the tone warmer and more expressive. ...
... 39. If a string player uses vibrato, it is most likely because A. the performer is unsure of the correct pitch. B. the performer is nervous. C. using vibrato is easier than not using it, and no one can hear the fluctuations anyway. D. using vibrato makes the tone warmer and more expressive. ...
to the Koto Nation manual.
... composition. The product may be installed on as many computer systems used by the licensee as desired, but in no case does a single license allow multiple individuals to use the product. The licensee may not use the product in the creation of other sample, sound effect, or loop libraries. The licens ...
... composition. The product may be installed on as many computer systems used by the licensee as desired, but in no case does a single license allow multiple individuals to use the product. The licensee may not use the product in the creation of other sample, sound effect, or loop libraries. The licens ...
7 PITCH AND TIMBRE
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
... OUR AUDITORY SYSTEM HAS THE ABILITY TO LISTEN TO COMPLEX SOUNDS IN DIFFERENT MODES. WHEN WE LISTEN ANALYTICALLY, WE HEAR THE DIFFERENT PARTIALS SEPARATELY. WHEN WE LISTEN SYNTHETICALLY (OR HOLISTICALLY), WE FOCUS ON THE WHOLE SOUND AND PLAY LESS ATTENTION TO THE INDIVIDUAL PARTIALS. A TONE WITH SEVE ...
Intonation, Tuning, and Blending
... ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for two flutes (Figure 6) ...
... ◦ The faint presence of a tone whose frequency is equal to the difference between the frequencies of the two notes actually being played. Usually an octave or two lower. ◦ The pitches being played must be adjusted so the fundamental sounds in tune. Trio for two flutes (Figure 6) ...
Fletcher2010.PDF
... From the available evidence it seems that vibrato was not common in classical music until at least the eighteenth century. Musical instruments such as lutes and viols all had frets on the finger board so that note pitches were well defined, and the same was true, of course, of harpsichords, organs a ...
... From the available evidence it seems that vibrato was not common in classical music until at least the eighteenth century. Musical instruments such as lutes and viols all had frets on the finger board so that note pitches were well defined, and the same was true, of course, of harpsichords, organs a ...
Vibrato
Vibrato is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music. Vibrato is typically characterised in terms of two factors: the amount of pitch variation (""extent of vibrato"") and the speed with which the pitch is varied (""rate of vibrato"").In singing it can occur spontaneously through a tremor in the diaphragm or larynx. The vibrato of the string instrument and wind instrument is an imitation of that vocal function. In the organ, the vibrato is imitated by a small fluctuation of wind pressure, also known as a Tremolo or Tremulant.