184 Sentences With "chromatically" | Random Sentence Generator

Later, we hear the poison chromatically working itself through her veins.

For emeralds born in the mountains of Colombia, the green is chromatically, spectacularly clean.

I jump on stage enthusiastically, and start playing lots of notes quickly in succession, chromatically.

Yet, culturally as well as chromatically, race is where things start in the opening gallery.

It rhymes, chromatically, with the landscapes of Dutch masters like Jacob van Ruisdael and Meindert Hobbema.

His typically bright and chromatically inclusive palette feels more limited by the underlying density of his choice of material.

The paints are chromatically-organized, each a unique recipe perfected by McGinness and his staff, like a magic potion.

He submitted the design in four different color combinations, and the museum chose the most chromatically intense: red, blue and green.

Then I realized something else, something so strange that, for a moment, I couldn't take it in: Duvel had reorganized the store chromatically.

Lopatin used a software synthesizer called ChipSpeech to create artificial vocals, inputting direction and lyrics to tell the synthesizer how to sing lyrics chromatically.

It's hard to deny the immediate commercial appeal of backwards bookshelves — for one, it doesn't require book owners to organize rooms chromatically around them.

It is dominated by the dialogue between the rough-hewed relief paintings of Thornton Dial and the geometrically, chromatically brilliant quilts of the Gee's Bend collective.

Sewing and stapling sheets of canvas together with swaths of black rubber, he created geometrically and chromatically simplified visual forms and picture planes that became palpably taut.

NINA CHANEL ABNEY: ROYAL FLUSH Full-tilt, chromatically dazzling figurative canvases explode through two Los Angeles museums in this young painter's solo museum-show debut. Sept. 217-Jan.

In the same vein is Imi Knoebel's "24 Colors — For Blinky" (1977), a group of 24 large, oddly shaped, chromatically exacting monochrome paintings on 4-inch-deep wood panels.

It has a rigorous quietude that doesn't aim to be visually seductive, but rather is concerned with what happens when chromatically related materials that have very different textures come together.

This was the kind of painting that artists of the day wanted to paint — big, full-throated, spatially and chromatically complex, resolutely reflecting the noisy, gritty urban life that gave birth to it.

In December, Pantone, the foremost chromatically inclined authority will name their color choice for 2017, which goes far beyond paint colors and, if their prediction is correct, will pop on everything from high fashion runways to kitchen appliances.

"The Future Is Elsewhere (if It Breaks Your Heart) No. 3," a dark vertical tricolor, is complicated conceptually as well as chromatically by its three figures: one standing, one on a chair and one sitting on the floor.

Placed against a chromatically neutral gray ground, it recalls the scattered chunks of imagery and construction debris of "On the Rooftop," except that, rather than compositional improvisation, you sense a documentary impulse at work to preserve the artifact more or less as the artist came upon it.

Viktor's self-portrait, "Eleventh" (2018) is surrounded by decorative gold filigree and a chromatically bountiful scheme of red leaves and white flowers, and she's also surrounded by language, place names such as "Mende" and "Bakwe" to map out where she is from in the wide-ranging African diaspora.

There's enough for the melody and its accompanying harmony parts, and also for a curious interplay between grandeur (often pushed, chromatically, toward joy by James Jamerson, the bassist for the Funk Brothers, Motown's legendary backing band) and a sweet sadness, framed cursively by strings or a chorus of flutes.

In this sprawling, chromatically saturated landscape of sculptures and assemblages, early-American furniture and cheap and cheerful finds from the corner store present competing definitions of "Americana," and fall somewhere on a continuum between the relentlessly upbeat materialism of Jeff Koons and the moodier, mass-cultural immersion of Mike Kelley.

With regard to Wurmfeld's "Canaletto Variations, #215, II-21 + B/13" (21), one of the five paintings he contributed to Radiant Energy, Birmingham writes: Inspired by the primary color palette (red, yellow, and blue) of the Canaletto, Wurmfeld arranges the hues chromatically on overlapping grids, a compositional structure he has employed since the mid-268s.

To further model the black, he adds in color — yellow ocher, raw umber, two shades of blue — to give him seven blacks to work from, shades which differ chromatically, differing in color as opposed to differing in "value," the term in art for distinguishing lightness and darkness, the value of a pigment changing when white is added.

Leaving aside some lizard-skin boots with stacked heels, the collection stopped well shy of ostentation and ran to the beautifully proportioned and the chromatically assured: gently narrowed bone-white trousers, a draped cinnamon silk sweater, pale-blue track pants with dark side stripes, a dove-gray windbreaker worn with pushed up sleeves atop a shirt of faded lilac.

When we remember Olitski's traditional art education at the National Academy School and his saying that, as a young artist, he "wanted to be Rembrandt," we begin to see paintings such as "Tut Pink" not only as modernist affirmations of the associative power of color, but also as chromatically rich distillations of the dramatic chiaroscuro of old master painting, detached from illusion but still capable of stirring us.

L'isle Joyeuse begins with a chromatically descending whole tone cadenza.

In particular, (x-1)^3x is the chromatic polynomial of both the claw graph and the path graph on 4 vertices. A graph is chromatically unique if it is determined by its chromatic polynomial, up to isomorphism. In other words, G is chromatically unique, then P(G, x) = P(H, x) would imply that G and H are isomorphic. All cycle graphs are chromatically unique.

Many instruments were restored and are used in recordings and other performances in Los Angeles. LAPR works with Odd Art Fabrications to custom design and fabricate instruments and hardware such as chromatically tuned wood blocks and chromatically tuned bell plate.

A disadvantage of inline chromatic harps is that glissandi can only be performed chromatically.

Crumhorns can be chromatically played by using cross- fingerings, except for the minor second above the lowest note.

The recitative finishes with passages that are chromatically sinking diminished seventh chords over above the pedal point on D.

In the major mode, the chromatic voice leading is more pronounced because of the presence of two chromatically altered notes, and , rather than just . In most occasions, the augmented-sixth chords precede either the dominant, or the tonic in second inversion. The augmented sixths can be treated as chromatically altered passing chords.

The three graphs with a chromatic polynomial equal to (x-2)(x-1)^3x. Two graphs are said to be chromatically equivalent if they have the same chromatic polynomial. Isomorphic graphs have the same chromatic polynomial, but non- isomorphic graphs can be chromatically equivalent. For example, all trees on n vertices have the same chromatic polynomial.

The final movement opens with a rapid, chromatically descending theme with a vigorous drive; these characteristics also inflect the quietly joyful second theme.

This can help with camouflage when the cuttlefish becomes texturally as well as chromatically similar to objects in its environment such as kelp or rocks.

However, not all midget cells are chromatically opponent. They have slow conduction velocity and are very responsive to high temporal frequencies (i.e. rapidly and low spatial frequencies).

In recent times, they have become quite sought after in Ukraine. They are strung either diatonically (with 31–36 strings) (8 basses and 23 prystrunky) or chromatically (with 61–65 strings).

In the period 1927–29 he also recorded with Frankie Trumbauer, Bix Beiderbecke, Red Nichols, The Dorsey Brothers, and Joe Venuti. From 1929 Morehouse was active chiefly as a studio musician, and in radio and television. In 1938, he assembled a percussion ensemble which played instruments that were designed by Morehouse and Stan King and that were tuned chromatically. He invented a set of N'Goma drums – "14 chromatically tuned snare drums mounted on a circular bar" – around 1932.

Creative Chord Substitution for Jazz Guitar, p.42. . For example, "A C major scale with an added D note, for instance, is a chromatically altered scale" while, "one bar of Cmaj7 moving to Fmaj7 in the next bar can be chromatically altered by adding the ii and V of Fmaj7 on the second two beats of bar" one. Techniques include the ii-V-I turnaround, as well as movement by half-step or minor third.Arkin (2004), p.43.

Triangles, rhombuses, circles and crosses occur frequently,and they are known as symbols of health and fertility. Chromatically, there are three main colors in these clothes, the most symbolic of which is red.

Savaşkan is a singular figure on the new music scene. His music employs highly personal pitch-time structuring methods, derived from notions of spatial perspective and architecture. This pitch-time technique was first displayed in his chamber works Many Stares Through Semi-Nocturnal Zeiss Blink (1979) and Antedonia (1980). The basis of the technique is the gradual circular rotation of pitch-classes moving at different speeds simultaneously; this rotation can be effected chromatically, micro-chromatically or through glissandi, or any combination of these.

It has a huge range, a chromatically complete scale and is able to produce chord voicings. Most orchestras use a full range of sheng, including the gaoyin (soprano), zhongyin (alto), cizhongyin (tenor) and diyin (bass) sheng.

This choice is not arbitrary – it is a final statement of the chromatically based ascending minor second motive that pervaded the movement, a motive that will be reversed into a descending minor second in the following movement.

After three minutes, the instruments play in C# minor in 4/4 time, and the main verses are sung in harmony by Gilmour and Wright. In place of a chorus, a guitar riff descends chromatically from C# to A, and re-ascends chromatically to C#, several times before playing E major, B major, and C major. Another verse and "chorus" follow the first, and then a guitar solo plays over a verse progression and climaxes at the end of two "chorus" progressions. In some live versions, a third "chorus" progression was added.

Silva, Raquel Henriques da, "Marcelino Vespeira". In: A.A.V.V. – 50 Anos de Arte Portuguesa. Lisbon, Fundação Calouste Gulbenkian, 2007 (Portuguese). Often dominated by reds, its palette thickens; later, in the 1960s, the composition became more fluid, formally and chromatically.

Both are vertical rather than horizontal and smaller in scale than the other works. Both are thematically less dark than the other works in the series, although they are chromatically darker.Fernández, G. "Goya: The Black Paintings". theartwolf.com, August 2006.

Tuning While various tunings are (and have been) used, the standard tuning for the gadulka is A-E-A for the three playing strings; the sympathetics (resonating strings) are tuned chromatically to cover all notes besides A and E (depending on the number of sympathetics).

Carillons must have at least 23 bells to be considered as such, and the National Carillon has 57. It was initially installed with 53, and increased to 55 during refurbishments in 2003-4. Each bell weighs between and . The bells span four and a half octaves chromatically.

NASA photograph AS17-148-22726, taken just before and nearly identical to 22727, is also used as a full-Earth image. The widely published versions are cropped and chromatically adjusted from the original photographs. The photographer used a 70-millimeter Hasselblad camera with an 80-millimeter Zeiss lens.

Since 1957 Giedrius Kuprevičius regularly plays on Kaunas carillons (a set of 49 chromatically tuned bells). Concerts in New Zealand, Belgium, Germany, Poland, Netherlands, Denmark. He was a senior carillonneur of Kaunas city for a long time. Giedrius Kuprevičius managed the band of electronic music ARGO of Kaunas Music Theatre.

The three graphs with a chromatic polynomial equal to (x-2)(x-1)^3x. The chromatic polynomial of the bull graph is (x-2)(x-1)^3x. Two other graphs are chromatically equivalent to the bull graph. Its characteristic polynomial is -x(x^2-x-3)(x^2+x-1).

Sébastien Charlier (Beaumont-sur-Oise, 1971) is a French diatonic harmonica player. He plays chromatically, in all keys, on a single blues harp. His music is inspired by many different influences, from Blues to Jazz, from Fusion to Electro-Pop.Sebastien Charlier Delphi'Muz - Sébastien Charlier pour la sortie de "Precious Time" 2 déc.

Reviewing the same exhibition, Robert Nelson described Makinti's work as "sensual and chromatically effusive painting". The work of the "Kintore ladies" has created "some of the most richly textured surfaces in the history of the (Papunya Tula) company"; Makinti's painting for Genesis and Genius was hailed as "a painterly celebration of colour and form".

When the third is lowered, a minor eleventh chord is formed with a major ninth interval between the two notes in question (e.g. C, E, G, B, D, F) . Similarly, the eleventh may be raised chromatically over a major triad (e.g. to F in a C major chord) to imply the lydian dominant mode.

The lower and upper added notes may or may not be chromatically raised. An inverted turn (the note below the one indicated, the note itself, the note above it, and the note itself again) is usually indicated by putting a short vertical line through the normal turn sign, though sometimes the sign itself is turned upside down.

While uncommon, the melodeon is still played in some parts of Ireland, in particular in Connemara by Johnny Connolly. Modern Irish accordion players generally prefer the 2 row button accordion. Unlike similar accordions used in other European and American music traditions, the rows are tuned a semi-tone apart. This allows the instrument to be played chromatically in melody.

Innovations such as the chromatically raised 5th that Burney singled out in Galuppi's arias of the 1740s appear, and many harmonic features of the late- classical period are foreshadowed, such as the final deceptive cadence in which an augmented sixth chord is substituted before the ultimate resolution.Galuppi, Baldassare, and Horst Heussner. 1981. Concerti a quattro. Wien: Doblinger.

The plumage of the peacock increases its vulnerability to predators because it is a hindrance in flight, and it renders the bird conspicuous in general. Similar examples are manifold, such as in birds of paradise and argus pheasants. Another example of sexual dichromatism is that of the nestling blue tits. Males are chromatically more yellow than females.

This distinguishing feature of harmonic minor scales occurs as a consequence of the seventh scale degree having been chromatically raised in order to allow chords in a minor key to follow the same rules of cadence observed in major keys, where the V chord is "dominant" (that is, contains a major triad plus a minor seventh).

Their sound is rather like a small tuned bell, only with a much brighter sound, and a much longer resonance. Like tuned finger cymbals, crotales are thicker and larger; they also have slight grooves in them. The name comes from the Greek crotalon, for a castanet or rattle. Modern crotales are arranged chromatically and have a range of up to two octaves.

Euglossa is a genus of orchid bees (Euglossini). Like all their close relatives, they are native to the Neotropics; an introduced population exists in Florida. They are typically bright metallic blue, green, coppery, or golden. Euglossa intersecta (formerly known as E. brullei) is morphologically and chromatically atypical for the genus, and resembles the related Eufriesea in a number of characters including coloration.

For the title track, "Brubeck's left hand moves chromatically down the scale in flats as his right simultaneously moves up in sharps at a brisk tempo". "To Sit and Dream" is taken from "Hold Fast to Dreams", a Brubeck composition based on the poems of Langston Hughes. "Ballad of the Rhine" dates back to the 1940s, when Brubeck was in the military.

She received her degree in composition in 1991. Wullur founded several gamelan groups in the Netherlands, including Tirta and Irama, and since 1992 has worked with the gamelan ensemble Widosari as a Javanese singer. She uses chromatically tuned gamelan instruments in her compositions and with her own gamelan ensemble Multifoon. Wullur has issued recordings on CD, including most recently Gong and Strings.

This section is more agitated than the first; it is marked piano and "somewhat faster" (etwas geschwinder). The melody gradually increases in pitch, chromatically at points. The piano accompaniment is syncopated, playing chords of quavers alternating in the left and right hand. A diminished chord in the first bar of the third line (ich bin noch jung) creates an eerie mood.

It stops in A major. In the second part of the development (115–134) this motif is transformed into piano accompaniment for the cello working out the descending motif (found originally in the first subject accompaniment). The music chromatically modulates to A major. The third part (134–153) by a B pedal prepares the A leading to the tonic (D minor).

Active in the Berlin horn playing scene in the early 1800s, Kopprasch was acquainted with the inventor of the valved horn, Heinrich Stölzel. Because horns could not play chromatically prior to Stölzel's invention of valves, no chromatic etudes existed for the horn and it is likely Kopprasch composed his now seminal works to fill that need.Ericson, John. “The Original Kopprasch Etudes”.

Although a sequence does not have to modulate, it is also possible to modulate by way of a sequence. A sequential modulation is also called rosalia. The sequential passage will begin in the home key, and may move either diatonically or chromatically. Harmonic function is generally disregarded in a sequence, or, at least, it is far less important than the sequential motion.

A chromatic button accordion is a type of button accordion where the melody- side keyboard consists of rows of buttons arranged chromatically. The bass- side keyboard is usually the Stradella system or one of the various free-bass systems. Included among chromatic button accordions are the Russian bayan and Schrammel accordion. There can be 3 to 5 rows of vertical treble buttons.

Without valves, the player could produce only a harmonic series of notes like those played by the bugle and other "natural" brass instruments. These notes are far apart for most of the instrument's range, making diatonic and chromatic playing impossible except in the extreme high register. The valves change the length of the vibrating column and provide the cornet with the ability to play chromatically.

Daring to tamper with the designs of Torres, Ramírez built larger and more powerful concert guitars, with longer scale lengths and asymmetrical bracing. Both of these innovations, and many others, are standard today. Segovia was an uncompromising customer, but when Ramírez' designs gave him what he wanted, an unsurpassable supporter. More radical still, in 1963 Ramírez built a ten-string guitar for Narciso Yepes, to accommodate Yepes' unique chromatically balanced tuning.

Assortment of worms Both its common and Latin names refer to the two chromatically hued spiral structures, the most common feature seen by divers. The multicolored spirals are highly derived structures for feeding and respiration. Spirobranchus giganteus is similar to most tube-building polychaetes. It has a tubular, segmented body of an approximate length of 3.8 cm (1.5 in) covered with chaetae, small appendages that aid the worm's mobility.

The program allowed Lopatin to write lyrics and play them chromatically. Sasha Geffen of Consequence of Sound noted nonetheless that "you only catch them in snippets inside the grotesque mesh of processing Lopatin’s used to filter them." The Fader wrote that "the record, a meticulous collage of mutilated samples and computer-generated voices, careens between uncanny familiarity and total alienness." The release was accompanied by a lyric sheet.

"Cirrus Minor" has an unusual chord sequence: E minor, E flat augmented, G major, C# minor 7, C major 7, C minor 7 and B 7. The chords are built around the chromatically descending bass line. The B 7, C major 7 and G major chords are the only chords which fit into the functional context of the E minor key. This chord sequence gives the song a surreal atmosphere.

Melodies can be based on a diatonic scale and maintain its tonal characteristics but contain many accidentals, up to all twelve tones of the chromatic scale, such as the opening of Henry Purcell's Thy Hand, Belinda, Dido and Aeneas (1689) (, with figured bass), which features eleven of twelve pitches while chromatically descending by half steps,Benward & Saker (2003). Music: In Theory and Practice, Vol. I, p.38. Seventh Edition. .

While the dominant thirteenth is the most common thirteenth chord, the major thirteenth is also fairly common.Hal Leonard Corp. (2003). Picture Chord Encyclopedia: Photos, Diagrams and Music Notation for Over 1,600 Keyboard Chords, p.10. . A major thirteenth chord (containing a major seventh) will nearly always feature a chromatically raised eleventh (C E G B D F A) (see lydian mode), except for cases when the eleventh is omitted altogether.

After protests and reactions from both sides, the school made the decision to alter the work of art over the objections of the Taiwanese students. The university decided later that year that it would retain the original design which chromatically displayed the PRC and Taiwan as different entities but with the addition of an asterisk beside the name of Taiwan and a corresponding placard that clarified the institution's position regarding the controversy.

La voix humaine stands out from Poulenc's previous works because it is marked by a certain tonal ambiguity. Poulenc achieves this sensation through the avoidance of traditional harmonic functions and the preponderance of unresolved dissonances, diminished structures, and progressions of chromatically-related chords.Daniel, p. 308–209 Although some passages—most often those in which the voice becomes more lyrical—have a clear tonal center, the tonally ambiguous sections are much more frequent in Poulenc's score.

Anton Weidinger developed a keyed trumpet which could play chromatically throughout its entire range. Before this, the trumpet was valveless and could only play a limited range of harmonic notes by altering the vibration of the lips; also called by the name of "natural trumpet". Most of these harmonic notes were clustered in the higher registers, so previous trumpet concertos could only play melodically with the high register (e.g., Bach's Brandenburg Concerto No. 2).

A variety of terms are used in the literature to describe these cells, including chromatically opposed or -opponent, spectrally opposed or -opponent, opponent colour, colour opponent, opponent response, and simply, opponent cell. The opponent color theory can be applied to computer vision and implemented as the Gaussian color model and the natural-vision-processing model.Barghout, Lauren. (2014). "Visual taxometric approach to image segmentation using fuzzy-spatial taxon cut yields contextually relevant regions".

10–11 (consisting of two consecutive, chromatically descending figures, the second slightly higher than the first) is very similar to the main motif of Chôros No. 10, but this relationship is skilfully disguised by uniting it with the flute's slower figure . Harmonically, the course of the work is produced by the interaction between diatonic structures on the one hand and more complex pitch collections drawn from the chromatic, whole-tone, and octatonic scales .

The fugal motifs from the slow movements of Mendelssohn's Opus 13 (top) and Beethoven's Opus 95 (bottom). Second violin and viola parts are shown. The Adagio movement has a middle slow, fugal section which is modelled after the fugal middle section of the slow movement of Beethoven's Op. 95. The subjects of both fugues are sinuous melodies that slide down chromatically, moving from viola to second violin and then to the other voices.

Lembesis' work is characterised by a particular skill in achieving perfect chromatic tones and a clarity of design. He is considered the most romantic of all the romantic painters of the Munich School. He admired Murillo, and often used in his works a similar contradiction of vivid light and dark colours to emphasise chromatically the scenes that he painted. Nude by Polychronis Lembesis National Gallery of Athens There are around 100 known works.

The song commences in A major, with an initial I–IV–II–V–I structure matching the vocals on "Oh, yeah, all right!" This is followed by a iv dim–I pattern (Ddim to A chord) on "dreams tonight." During this, the accompanying bass and one guitar move chromatically from A to B and D, while the second guitar harmonises a minor third higher to reach F.Dominic Pedler. The Songwriting Secrets of the Beatles.

The modern yangqin can have as many as five courses of bridges and may be arranged chromatically. Traditional instruments, with three or more courses of bridges, are also still widely in use. The instrument's strings are struck with two lightweight bamboo beaters (also known as hammers) with rubber tips. A professional musician often carries several sets of beaters, each of which draws a slightly different tone from the instrument, much like the drum sticks of Western percussionists.

This discrimination is most apparent in the fourth movement, Rêves d'enfant, which contains both the most conventional and most daring music in the entire suite. The harmonic support for this gently berceuse remains orthodox enough in its opening half. Towards the middle of the piece, textures become so fragmented and chromatically ornamented that their harmonic foundation remains elusive. Only at the end of each phrase does a triad played on the harp bring a brief stability.

Foxfire is a 1955 American drama romance Western film released by Universal- International, directed by Joseph Pevney, and starring Jane Russell, Jeff Chandler, and Dan Duryea. The movie was loosely based on a best-selling 1950 novel by Anya Seton. Foxfire is historically notable in that it was the last American film to be shot in three-strip Technicolor, which process had been displaced by the coarser-grained and less chromatically saturated, but much cheaper, Eastmancolor single-strip process.

A Kharkiv-style bandura made by Andrij Birko, 2008 These instruments are primarily made by craftsmen outside of Ukraine; however, in more recent times, they have become quite sought after in Ukraine. They are strung either diatonically (with 34–36 strings) or chromatically (with 61–68 strings). The standard Kharkiv bandura was first developed by Hnat Khotkevych and Leonid Haydamaka in the mid-1920s. A semi-chromatic version was developed by the Honcharenko brothers in the late 1940s.

A kyam at the Mon Buddhist Temple in Fort Wayne, Indiana The mi gyaung ( ) or kyam (, ; pronounced "chyam") is a crocodile-shaped fretted, plucked zither with three strings that is used as a traditional instrument in Burma. It is associated with the Mon people. The instrument's body is made of wood that is carved out on the underside like a dugout canoe. It has approximately 13 raised wooden frets that are diatonically rather than equidistantly or chromatically spaced.

As the piece progresses, the first in the groups of three quavers is dotted to create a breathless pace, which then forms a bass figure in the piano driving through to the final crisis. The last words, , leap from the lower dominant to the sharpened third of the home key; this time not to the major but to a diminished chord, which settles chromatically through the home key in the major and then to the minor.

The atenteben (atɛntɛbɛn) is a bamboo flute from Ghana. It is played vertically, like the European recorder, and, like the recorder, can be played diatonically as well as chromatically. Although originally used as a traditional instrument (most often in funeral processions), beginning in the 20th century it has also been used in contemporary and classical music. Several players have attained high levels of virtuosity and are able to play Western as well as African music on the instrument.

The bells of the Yale Memorial Carillon. Wires connect the clappers to the console below. The Yale Memorial Carillon (sometimes incorrectly referred to as the Harkness Carillon) is a carillon of 54 bells in Harkness Tower at Yale University in New Haven, Connecticut. This carillon is a transposing instrument pitched in B. Its 54 bells are chromatically arranged from G (1.5 octaves below middle-C) to C (3 octaves above middle-C) for a total of 4.5 octaves.

Sangaride arrives in Scene 6 and begs Cybèle to stop her wedding to King Celenus because she does not love him. Atys, confused, intervenes on Sangaride's behalf. This upsets Cybèle because she too loves Atys and has bestowed the title of high priest on him. When she is left alone with Melissa in Scene 7, she sings the lament "L'ingrat Atys," also based on the chromatically descending tetrachord in A minor (A-G#-G-F#-F-E).

Other composers derived their own schemas based on certain logical rationales. For example, in Alkan’s 25 Preludes, Op. 31, the sequence of keys moves alternately up a fourth and down a third: the major keys take the odd-numbered positions in the cycle, proceeding chromatically upwards from C to C again, and each major key is followed by its subdominant minor. Yet others used no systematic ordering. Cui, Palmgren, Rachmaninoff and Castelnuovo-Tedesco's works are examples of this.

Leichtentritt, p. 96. The third period, although it stays chromatically centered around E major, is a long sequence of diminished seventh and tritone intervals, littered with accidentals and irregular rhythms difficult to play. It reaches a climax in the fourth period (bars 46–53), a bravura passage of double sixths for both hands. The fifth period (bars 54–61), leading back to the final restatement of the theme, can be described as an extended dominant seventh.

According to Berlioz, the three open strings were tuned C1, G1, and C2. This tuning gave it a low range one octave below the cello and equal to the modern double bass with low C extension. However, at the time when the octobass was invented, the double bass lacked this extension and could descend only to E1 or G1. The mechanism enabled each string to chromatically cover the range of a perfect fifth and gave the instrument a high range to G2.

270x270px After a few uncertain or undocumented reports, the presence of a differentiated population of S. atra on the Pasubio massif was eventually confirmed in 1999. This population has been named as a distinct subspecies in 2005, because it is chromatically and genetically differentiated from both S. atra atra and S. atra aurorae, and geographically separated from the remaining species range. The type locality is “Val Fontana d'Oro” and the holotype has been deposited in the Zoological Museum La Specola in Florence.

Around the time the song was written, Barrett was also inspired by AMM and their guitarist Keith Rowe, who had a pattern of moving pieces of metal along his guitar's fretboard. The free-form section (and also, "Pow R. Toc H.") was inspired by Frank Zappa's free-form freak-out and The Byrds' "Eight Miles High". "Interstellar Overdrive" shares an emphasis on chromaticism with "Astronomy Domine". The main theme descends chromatically from B to G, before resolving to E, all chords major.

However the discovery of chromatically-antagonistic neurons in monkey lateral geniculate nucleus (LGN) by De Valois and his associates demonstrated a neural substrate for a second stage of color processing, similar to that proposed by Hering. In two publications,De Valois, R.L., Jacobs, G.H. & Abramov, I.,), "Responses of single cells in visual system to shifts in the wavelength of light". Science 196: 1184-1186, (1964).De Valois, R.L., Abramov, I. & Jacobs, G.H., "Analysis of response patterns of LGN cells", J. Opt. Soc.

Segment Directors Audio Commentary at 25:08–25:39 Goldberg took Hirschfeld's original illustration of Gershwin and animated it to make him play the piano. Featured in the crowd emerging from the hotel are depictions of Brooks Atkinson and Hirschfeld, along with his wife Dolly Haas.Supplemental Features: Rhapsody in Blue: Inspirations from Hirschfeld The segment was completed two months ahead of schedule. Despite this, the sequence was so chromatically complex that the rendering process using the CAPS system delayed work on Tarzan.

Anton Joseph (A. J.) Hampel (1710 - 30 March 1771) was a horn player who is generally credited with having developed, somewhere between 1750 and 1760, the technique of hand-stopping which allows natural horns to play fully chromatically. This was one of the most important innovations in the history of the horn, comparable with Heinrich Stölzel's development of the first valve horn in 1817. It was this development that enabled the horn repertoire of Mozart, Weber and others to be written.

The Dies irae opens with a show of orchestral and choral might with tremolo strings, syncopated figures and repeated chords in the brass. A rising chromatic scurry of sixteenth-notes leads into a chromatically rising harmonic progression with the chorus singing "Quantus tremor est futurus" ("what trembling there will be" in reference to the Last Judgment). This material is repeated with harmonic development before the texture suddenly drops to a trembling unison figure with more tremolo strings evocatively painting the "Quantus tremor" text.

This became an extremely important part of Liszt's compositional output. It consists of 29 works of a festive or patriotic character, 15 of which are associated specifically with Hungary, including the set of seven Hungarian Historical Portraits completed in 1885. Liszt was often called upon to write music for state occasions, producing three marches and the Szózat und Ungarischer Hymnus, a setting of the Hungarian national anthem noted for its use of unusual scales together with the juxtaposition of chromatically related harmonies.Baker, 107.

The continuo accompanying the vocal line is "tortuous and chromatically convoluted". The soprano recitative is accompanied by a simple recorder trio, a combination designed to represent the "aura of the angels". As this is the only movement to include the recorders, the parts were likely performed by the oboe and taille players. The fourth movement is a trio of the soprano, alto and tenor voices; the alto sings the chorale line with the strings while the soprano and tenor perform a duet aria.

As with the current work, they are painted with broad slashing brush strokes. And as with this work, each has at the center what Robert Hughes describes as "a gaping hole...[a] gaping void" – the subject's open mouth.Hughes, 382 Women Laughing is often seen as a companion piece to Men Reading; both are vertical rather than horizontal and smaller in scale than the other works. Both are thematically less dark than the other works in the series, although they are chromatically darker.

Elgar was insistent that the first entrance of this new subject be played religiously pianissimo without sacrificing the expression dictated. This subject is formed from the repetition of a two-bar theme through a sequence that builds from pianissimo to fortissimo. This then gives way to a slow, soft cello theme at rehearsal 11, featuring a song-like character. Throughout this section, the violas play a subtle accompaniment figure consisting of a quarter note moving up Diatonic and chromatically to an eighth note.

Actually, Zeiss has a large monopoly on this type of construction, because Rudolph's patent was very general. His only claim was: > "A spherically, chromatically and astigmatically corrected objective > consisting of 4 lenses separated by the diaphragm into two groups, each of > two lenses, of which group one includes a pair of facing surfaces and the > other a cemented surface, the power of the pair of facing surfaces being > negative and that of the cemented surface positive". > \- Paul Rudolph on his device.

Many of Pedrick's inventions related to his cat, Ginger. His crowning achievement in this respect was patent GB1426698 titled "Photon Push-Pull Radiation Detector For Use in Chromatically Selective Cat Flap Control And 1000 Megaton Earth-Orbital Peace-Keeping Bomb". The idea was to detect the difference in fur colour between a ginger cat and a black cat. He came up with this idea because a black cat named "Blackie" from next door kept trying to steal his own cat's food.

Following the third chorus, at 2:36 on the released recording, the bassline descends chromatically to mark the start of what musicologist Alan Pollack terms the "first outro" and Everett calls a "codetta". After this false ending, the song returns with a 45-second coda, which MacDonald identifies as a "Maori finale – a mistake for 'Hawaiian' (aloha)". The coda consists of a repeated musical phrase over a pedal point in C major, accompanied by the vocal refrain "Helaheba-hello-a".

As with all previous releases by the band, the cover art was done by front man Baizley and echoes themes seen on prior recordings that prominently feature scantily clad woman intertwined with scenes inspired by nature in a gold and grey color scheme, giving the album its name however, this may possibly be the last of such chromatically-themed album covers from the band. The art work was leaked by music identifying app Shazam which forced Baizley to release it early on the band's Twitter account.

Stereoviews were meant to be viewed using a stereoscope, of which there were many types. However, advances in 3D technology have allowed old stereoviews to be reproduced on digital media or the print page to be viewed using paper glasses. Anaglyph 3D is the name given to the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye.

Schneider was born in Darmstadt, where he originally learnt music as a member of the city's alta cappella. From 1787 he played horn in the court orchestra of the nobel house Hessen-Darmstadt, then from 1795 for the Prussian royal court. Schneider's compositions and performances focussed on the horn, and owe a stylistic debt to Haydn and Mozart. The invention of the valved horn by Heinrich Stölzel and Friedrich Blühmel was of great interest to Schneider, allowing the instrument to be played chromatically for the first time.

In music, a mordent is an ornament indicating that the note is to be played with a single rapid alternation with the note above or below. Like trills, they can be chromatically modified by a small flat, sharp or natural accidental. The term entered English musical terminology at the beginning of the 19th century, from the German Mordent and its Italian etymon, mordente, both used in the 18th century to describe this musical figure. The word ultimately is derived from the Latin mordere (to bite).

Sun-Treader, his best known work, is scored for a large orchestra. It was inspired by the poem "Pauline" by Robert Browning, particularly the line "Sun- treader, light and life be thine forever!". The most common intervals in the piece are minor seconds, perfect fourths and augmented fourths. One group of intervals he uses are fourths in sequence where the respective notes are either 13 or 11 semitones apart; the other is three notes which are chromatically related, though often separated by an octave.

Every Turán graph is a cograph; that is, it can be formed from individual vertices by a sequence of disjoint union and complement operations. Specifically, such a sequence can begin by forming each of the independent sets of the Turán graph as a disjoint union of isolated vertices. Then, the overall graph is the complement of the disjoint union of the complements of these independent sets. Chao and Novacky (1982) show that the Turán graphs are chromatically unique: no other graphs have the same chromatic polynomials.

The opening theme of this movement traces a chromatically rising line, and the frequent up-beat accents lend a quirkiness to the rhythm. Like the first movement, this one contains numerous harmonic surprises. It also illustrates Haydn's subtle changes in melodic leading between the piano right hand and the violin. As W Dean Sutcliffe has pointed out, "The free interweaving of roles means that the aural spotlight switches incessantly between the two, in such a manner as to make talk of doubling seem both unimaginative and inappropriate".

Danse de la chèvre (French for Dance of the Goat) is a piece for solo flute by Arthur Honegger, written in 1921 as incidental music for dancer Lysana of Sacha Derek's play La mauvaise pensée. At the start of the piece, there is a slow dreamlike introduction consisting of tritone phrases. This soon unwinds into the "goat-like" theme in a chromatically altered F major in 9/8 that skips along, providing the picture of a dancing goat. Following this theme is a more melodic theme or idea that gives off a more calming feeling.

The frets of the Appalachian dulcimer are typically arranged in a diatonic scale. This is in contrast with instruments like the guitar or banjo, which are fretted chromatically. As early as the mid-1950s some makers began to include at least one additional fret, usually the so-called "six and a half", "6½" or "6+" fret a half step below the octave. This enables one to play in the Ionian mode when tuned to D3-A3-D4 (the traditional tuning for the Mixolydian mode), where the scale starts on the open (unfretted) string.

See: Mystic chord. Prometheus scale on C, whole tone scale with one degree altered chromatically . For example, if a composer uses a synthetic scale as the basis for a passage of music and constructs chords from its tones, in much the same way that a tonal composer may use a major or minor scale's notes to build harmonies, then the resulting chords may be synthetic chords and referred to as such. Some synthetic chords may be analyzed as traditional chords, including the Prometheus chord, which may be analyzed as an altered dominant chord.

Blommersia angolafa is a small frog, with a body size of 17–21 mm, enlarged tips on fingers and toes, and without any dark area in the tympanic and frenal region, present in the other Blommersia. B. angolafa has a rather uniform dorso-lateral colouration, shading from yellowish–light brownish to dark brown, with light-bluish spots on the flanks and light-bluish terminal parts of the fingers and toes. The species also appears to be chromatically sexually dimorphic. In fact, males differ from females in having a light colouration, while females are more brownish.

However, while rods and cones are responsible for the reception of images, patterns, motion, and color, melanopsin-containing ipRGCs contribute to various reflexive responses of the brain and body to the presence of light. Evidence for melanopsin's physiological light detection has been tested in mice. A mouse cell line that is not normally photosensitive, Neuro-2a, is rendered light-sensitive by the addition of human melanopsin. The photoresponse is selectively sensitive to short-wavelength light (peak absorption ~479 nm), and has an intrinsic photoisomerase regeneration function that is chromatically shifted to longer wavelengths.

Juvenile cuttlefish camouflaged against the seafloor Cuttlefish are able to rapidly change the color of their skin to match their surroundings and create chromatically complex patterns, despite their inability to perceive color, through some mechanism which is not completely understood. They have been seen to have the ability to assess their surroundings and match the color, contrast and texture of the substrate even in nearly total darkness. The color variations in the mimicked substrate and animal skin are similar. Depending on the species, the skin of cuttlefish responds to substrate changes in distinctive ways.

He performed with McLaughlin as well as with Tucson-based musicians such as fiddler Jesse Stockman, bassist/violinist Rob Paulus, Paulus's wife vocalist Randi Dorman, vocalist Debbie Daly, kalimba player Mark Holdaway, percussionists Todd Hammes and Jeff Friedl, and didgeridoo player Allan Shockley. He backed singer- songwriter Nancy McCallion in 2004 in her first solo album after being in the Mollys folk group. Weed's banjo style was not traditional; he did not use the banjo's high, short fifth string as a drone. Instead, he used it chromatically to extend the instrument's range to higher notes.

Anaglyph 3D is the name given to the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Red-cyan filters can be used because our vision processing systems use red and cyan comparisons, as well as blue and yellow, to determine the color and contours of objects. Anaglyph 3D images contain two differently filtered colored images, one for each eye. When viewed through the "color- coded" "anaglyph glasses", each of the two images reaches one eye, revealing an integrated stereoscopic image.

The third movement, "Nicht schnell" (not fast), is in the subdominant, A major. The omission of timpani and brass in combination with the static harmony (the movement never strays far or for long from A), creates a moment of calm repose in the middle of the symphony. The thematic construction uses long beautiful themes that are constantly being pushed along by this friendly little motif of four chromatically ascending sixteenth notes, often on the fourth beat of a measure. In a typical performance this movement lasts approximately 5 minutes.

Gina Gleason was announced as his replacement. On March 9, 2019, the band began teasing the release of a new album, entitled Gold & Grey. Three days later on March 12, they released the album art on their social media accounts stating, "This painting was born from a deeply personal reflection on the past 12 years of this band’s history, and will stand as the 6th and final piece in our chromatically-themed records." Gold & Grey was released to overwhelmingly positive reviews, achieving a score of 91 on metacritic with 14 reviews.

Vienna horn Valves of a Vienna horn, operated by long push-rods from the 3 teardrop lever keys (at right). During the nineteenth century, a number of experiments were made in adding valves to the natural horn to enable it to play chromatically without the need for hand-stopping. These experiments included adding piston valves (as used in modern trumpets) to a single F horn. The horn was still crooked, by inserting other tubing, to re-tune the instrument for music written in base keys other than F.

Manuel Gabriel came to Pasig in 1997 from the Most Holy Trinity Parish in Balic-balic, Sampaloc, Manila, and it was during his term that the parish had electronic chromatically-tuned carillon bells installed in its belfry. The Immaculate Conception Parish was declared one of the Jubilee churches in the Archdiocese of Manila in the year 2000. In October 2001, the Ecclesiastical District of Pasig was created, covering the Vicariate of the Immaculate Conception, along with the parishes of Pateros and Taguig City. Bishop Nestor Cariño served as the first district bishop.

The beginning, "" (But the time will come), is rendered in block chords () as "repeated rhetorical calls". In the following "" (when whoever kills you), the word "" is "twice emphasized by a sudden, mysterious piano and wan, chromatically tinged harmonies", according to Klaus Hofmann, or "menacing chromatic texture of sustained notes underpinned by unexpected harmonies", according to Julian Mincham. Finally "" (will think that he does God a service by it) is interpreted by free imitation. After this sequential presentation of the three ideas of the text, they are repeated in variation and combination.

An appoggiatura ( , ; or ; ) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord. By putting the non-chord tone on a strong beat, this accents the appoggiatura note, which also delays the appearance of the principal, expected chord note. The added non-chord note, or auxiliary note, is typically one degree higher or lower than the principal note, and may be chromatically altered. An appoggiatura may be added to a melody in a vocal song or in an instrumental work.

Steelpans (also known as steel pans, steel drums or pans, and sometimes, collectively with other musicians, as a steel band or orchestra) is a musical instrument originating from Trinidad and Tobago. Steelpan musicians are called pannists. The modern pan is a chromatically pitched percussion instrument made from 55 gallon industrial drums. Drum refers to the steel drum containers from which the pans are made; the steel drum is more correctly called a steel pan or pan as it falls into the idiophone family of instruments, and so is not a drum (which is a membranophone).

Some tubas have a strong and useful resonance that is not in the well-known harmonic series. For example, most large B tubas have a strong resonance at low E (E1, 39 Hz), which is between the fundamental and the second harmonic (an octave higher than the fundamental). These alternative resonances are often known as false tones or privileged tones. Adding the six semitones provided by the three valves, these alternative resonances let the instrument play chromatically down to the fundamental of the open bugle (which is a 29 Hz B0).

An appoggiatura (; ) is an added note that is important melodically (unlike an acciaccatura) and suspends the principal note by a portion of its time-value, often about half, but this may be considerably more or less depending on the context. The added note (the auxiliary note) is one degree higher or lower than the principal note, and may or may not be chromatically altered. Appoggiaturas are also usually on the strong or strongest beat of the resolution, are themselves emphasised, and are approached by a leap and left by a step in the opposite direction of the leap.Kent Kennan, Counterpoint, Fourth Edition, p.

After experimenting with more graphically centered black and white images, and the intensive process of layer-by-layer color transfer, FAILE introduced an element of immediacy to these prints by painting the paper prior to printing, yielding prints that were loose and chromatically expressive.FAILE, Prints + Originals, 88. Each of these tendencies were amplified by FAILE's consistent travel and limited permanent studio space. By necessity, work was adapted to its location of display, by virtue of its inherent "site specificity," as well as the group's absorption of forms, imagery, and usable materials wherever they happened to be.

This initial transition is performed over the C dominant 7th chord, which is not totally foreign to A-flat and yet pushes strongly away towards the F minor B section. James Huneker found the F-minor section to "[broaden] out to dramatic reaches" though he still viewed the overall piece negatively. After a tumultuous set of chromatically descending octaves at the end of the B section, the key changes to F-sharp minor in measure 39 and returns to A-flat major at measure 51, where the meter also returns to 4/4. The tempo returns to lento in measure 73.

Certain low brass instruments such as trombone, tuba, euphonium, and alto horn are whole-tube and can play the fundamental tone of each harmonic series with relative ease. Furthermore, the low brass often use extra valves to extend their range uniformly, since the fundamental is chromatically discontinuous with the lowest 2nd harmonic reachable on a three-valve instrument or via the seven-position slide on a trombone. Trombone and tuba in particular are often called upon to play pedal tones and "false tones" or "privileged tones" which have a pitch between the normal range and the fundamental.

A simple red-cyan anaglyph image Anaglyph of Saguaro National Park at dusk Anaglyph of a column head in Persepolis, Iran Anaglyph 3D is the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye. When viewed through the "color-coded" "anaglyph glasses", each of the two images reaches the eye it's intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into the perception of a three-dimensional scene or composition.

The scale of C major is sometimes regarded as the central, natural or basic major scale because all of its notes are natural notes, whereas every other major scale has at least one sharp or flat in it. The notes F, C, E, B, and most notes inflected by double-flats and double-sharps correspond in pitch with natural notes; however, they are not regarded as natural notes but rather as enharmonic equivalents of them and are just as much chromatically inflected notes as most sharped and flatted notes that are represented by black notes on a keyboard.

This exploit made him know thorough Europe, and he was subsequently invited to display in London (1903), at the Venice Biennale (1903), at the Salon d'Automne in Paris (1904) and at the International Exposition in Munich (1912). After the Battle of Caporetto, he and his family had to flee from his hometown, finding refuge in Marche region. Between the two World Wars Davanzo developed a looser, chromatically brighter style. In 1935 Davanzo was invited to another Biennale in 1935; in his later years he became more and more secluded, moving near the Alps in Ampezzo that featured in so many of his landscapes.

The underlying idea is a chromatically descending cantus firmus, which is preserved in most of the repetitions, with minor alterations. The main alterations are the addition of a bar consisting of triple stops, and a crescendo in bar 57, delaying the start of the seventh transformation with one measure. The other alteration, is the addition of a bar in bar 73, and the eighth transformation, is reduced to six strokes, reaching to an end in bar 79. In the latter section, the music intensifies and the climax is interrupted in bar 80 with the tempo marking Meno mosso, molto cantabile, ending quietly.

Fiesco's compositions in this book are for four voices, and include madrigals in the classic style, chromatically experimental works (for example Bacio soave, which shows also the influence of Nicola Vicentino, who actively encouraged such experiments), as well as music likely intended for performance at dramatic events staged for the Este family. His poetry settings include works by Boccaccio, Giovanni Batista Strozzi, Bernardo Tasso, Sannazaro, Ludovico Ariosto, and Petrarch.Einstein, Vol II p. 555-557 Fiesco's last book of madrigals, the Musica nuova, for five voices, is his most famous, for it is the first appearance of the poetry of Guarini set to music.

Along with songwriting and scoring, Haack appeared on TV shows like I've Got a Secret and The Tonight Show starring Johnny Carson, usually with Pandel in tow. The duo often played the Dermatron, a touch- and heat-sensitive synthesizer, on the foreheads of guests; 1966's appearance on I've Got a Secret featured them playing 12 "chromatically pitched" young women. Meanwhile, Haack wrote serious compositions as well, such as 1962's "Mass for Solo Piano", which Pandel performed at Carnegie Hall, and a song for Rocky Mountain House's 50th anniversary. One of his most futuristic pieces, 1963's "Garden of Delights", mixed Gregorian chants and electronic music.

On the trumpet and cornet, these valve combinations correspond to low D, low C, low G, and low F, so chromatically, to stay in tune, one must use this method. In instruments with a fourth valve, such as tubas, euphoniums, piccolo trumpets, etc. that valve lowers the pitch by a perfect fourth; this is used to compensate for the sharpness of the valve combinations 1–3 and 1–2–3 (4 replaces 1–3, 2–4 replaces 1–2–3). All three normal valves may be used in addition to the fourth to increase the instrument's range downwards by a perfect fourth, although with increasingly severe intonation problems.

In the tuning system known as equal temperament the augmented sixth is equal to ten semitones and is a dissonant interval. The augmented sixth is relatively rare. Its most common occurrence is built on the lowered submediant of the prevailing key, in which position the interval assumes a natural tendency to resolve by expanding to an octave built on the dominant tonal degree. In its most common and expected resolution, the lower note of the interval moves downwards by a minor second to the dominant while the upper note, being chromatically inflected, is heard as the leading note of the dominant key, rising naturally by a minor second.

The quartet is in three movements: #Lento () – Allegro () #Adagio molto e con espressione () #Allegro giusto () The restlessly chromatic Lento introduction to the first movement is built on a three-note motive, A-C-D, that is found also in a number of the composer's other works . The boisterous main allegro portion of the movement is in A minor and sonata-allegro form. The slow movement is based on the motive from the Lento introduction of the first, and is in a chromatically inflected C major . The finale is in changing meters, with a dissonant-contrapuntal first theme, and a pandiatonic second one that wavers between G major and E major.

Reger composed his first setting of Hebbel's poem as a motet for unaccompanied male choir in 1912 in Meiningen, where he had worked from 1911. He composed it for the Basler Liedertafel, conducted by Hermann Suter, who performed it on 18May 1912 to celebrate their 60th anniversary before giving the official premiere at the national Schweizer Eidgenössisches Sängerfest (Swiss federal song festival) in Neuchâtel on 22July 1912. In accordance with the poem's structure, Reger used the same material for each of the refrains, in a homophonic setting. The words "ihr verglimmendes Leben" (their dimming life) are illustrated by "a sequence of chromatically descending sixth chords".

It was designed to have the power and projection needed to play solo concerts in large auditoriums, or to play with an orchestra, as well as to produce a fullness of tone, sweetness and a balance across the entire register. Both these innovations and many others are standard today. Ramírez went on to build more guitars for Segovia, which became his guitars of choice after having for the past 25 years used those made by Herman Hauser. More radical still, in 1963 he built a ten-string guitar for Narciso Yepes, to accommodate Yepes' unique chromatically balanced tuning, and later an eight- string guitar for José Tomás.

Some of his works derive their material from chromatically saturated harmonic patterns that combine chords, melodies and motivic ideas that complete the chromatic scale within given sections of works. Formally, some of Paterson's works are highly episodic, such as his "Sextet" and "Hell's Kitchen", while others are more seamless, such as "Dark Mountains" for orchestra, "A Dream Within A Dream" for a cappella choir or "Deep Blue Ocean" for two pianos. Paterson's music is generally very colorful, and he incorporates extended techniques in many of his works, such as "Scorpion Tales" for two harps, "The Book of Goddesses" for flute, harp and percussion, "Komodo" and "Piranha" for solo marimba and "Eating Variations" for baritone and chamber ensemble.

An extremely diverse musician, Johnny Smith was equally at home playing in the famous Birdland jazz club or sight-reading scores in the orchestral pit of the New York Philharmonic. From Schoenberg to Gershwin to originals, Smith was one of the most versatile guitarists of the 1950s. As a staff studio guitarist and arranger for NBC from 1946 to 1951, and on a freelance basis thereafter until 1958, he played in a variety of settings from solo to full orchestra and had his own trio, The Playboys, with Mort Lindsey and Arlo Hults. Smith's playing is characterized by closed-position chord voicings and rapidly ascending lines (reminiscent of Django Reinhardt, but more diatonic than chromatically-based).

Sol LeWitt, wall drawing, in May 2012 during the Wall Drawings from 1968 to 2007 Sol LeWitt retrospective exhibition at the Centre Pompidou-Metz, Metz, France. In 1968, LeWitt began to conceive sets of guidelines or simple diagrams for his two-dimensional works drawn directly on the wall, executed first in graphite, then in crayon, later in colored pencil and finally in chromatically rich washes of India ink, bright acrylic paint, and other materials.Christopher Knight (April 10, 2007), Sol LeWitt, 78; sculptor and muralist changed art Los Angeles Times. Since he created a work of art for Paula Cooper Gallery's inaugural show in 1968,Sol LeWitt, September 3 - October 10, 2013 Paula Cooper Gallery, New York.

Between 2003 and 2004, Sherman produced the Clowns cycle, where the use of digital photography enabled her to create chromatically garish backdrops and montages of numerous characters. Set against opulent backdrops and presented in ornate frames, the characters in Sherman's 2008 untitled Society Portraits are not based on specific women, but the artist has made them look entirely familiar in their struggle with the standards of beauty that prevail in a youth- and status-obsessed culture. Her exhibition at the Museum of Modern Art in 2012 also presented a photographic mural (2010–11)SFMOMA Presents Cindy Sherman, April 11, 2012 San Francisco Museum of Modern Art, San Francisco. accompanied by films selected by Sherman.

Handbell choir practicing A handbell choir or ensemble (in the United States) or handbell team (in England) is a group that rings recognizable music with melodies and harmony, as opposed to the mathematical permutations used in change ringing. The bells generally include all notes of the chromatic scale within the range of the set. While a smaller group uses only 25 bells (two octaves, G4–G6), the sets are often larger, ranging up to an eight-octave set (97 bells, C1–C9). The bells are typically arranged chromatically on foam- covered tables; these tables protect the bronze surface of the bell, as well as keep the bells from rolling when placed on their sides.

Clayson recognises the "undercurrent of bottleneck" in Harrison's main guitar riff as anticipating his slide guitar style, a technique he first embraced in December 1969 while on tour with Delaney & Bonnie and Friends. The unusual bass sound over the song's bridges was achieved by tracking the bass with the lead guitar, replicating the bass line that Harrison had played on his demo. Everett states that it was McCartney's Fender Jazz Bass doubled with Harrison's Telecaster, both playing chromatically moving arpeggiations in a similar manner to the bridge guitars in "And Your Bird Can Sing". In a 1987 interview for Creem magazine, however, Harrison recalled that he was the bass guitarist on the track, rather than McCartney.

In Romania there are three types of cavals: cavals from Moldova (with 6 holes), cavals from Oltenia (with 5 holes) and cavals from Dobrogea (similar with Bulgarian cavals). Their fundamental sound may be A, but for some instruments the lowest sound they can perform may vary between G and C. The Romanian cavals are ethnic instruments built by artisans (usually using two pieces, but there are older models made from a single piece) and therefore each instrument is unique in its own way. The Romanian caval in A has a playing range of two octaves (which lacks certain sounds). The first five sounds belong to a minor scale with stage IV ascending chromatically.

From the Baroque to the Romantic periods, augmented sixth chords had the same harmonic function: as a chromatically altered predominant chord (typically, an alteration of ii, IV, vi7 or their parallel equivalents in the minor mode) leading to a dominant chord. This movement to the dominant is heightened by the semitonal resolution to from above and below (from and );Kostka, Stefan, and Dorothy Payne (1995), Tonal Harmony, third edition (New York: McGraw Hill): p.384. . essentially, these two notes act as leading-tones. This characteristic has led many analysts to compare the voice leading of augmented sixth chords to the secondary dominant V of V because of the presence of , the leading-tone of V, in both chords.

Housman’s poem was among the first to be set by composers, beginning with Arthur Somervell’s as part of his Songcycle from A Shropshire Lad and the single setting by Stephen Adams, both in 1904.Trevor Hold, Parry to Finzi: Twenty English Song-composers, Woodbridge 2002 p.91 Two frequently performed versions are George Butterworth’s, from his Six Songs from A Shropshire Lad for medium high voice and piano (1911),A performance on You Tube and Ivor Gurney’s from Ludlow and Teme (1919).A performance on You Tube The style of setting varies from the simplicity of the traditional tune fitted to it by Butterworth to the “chromatically overwrought” music of Arnold Bax.

The opening bars of the first movement 8 - 10 minutes The first movement starts in cut time. It opens with a dark, chaotic and almost atonal introductory theme, which is referred to at various stages throughout the two movements, of broken octaves descending chromatically in tuplets in the left hand, aided by a simple melody of ascending octaves in the right. The theme progresses and changes time signatures numerous times until the start of the Quasi andante section At the start of the Quasi andante section, the key changes to D♭ Major and 2/4 time, and a new theme emerges. This time, the theme is less chaotic and more melodic and lyrical.

Lyrically, Coroner began to write about themes such as politics and personal introspection. No More Color was produced by Pete Hinton and the band. Coroner's music became more technical on No More Color as the guitar work was characterized by intricate modes and arpeggios, solo work that was chromatically colorful, as well as the de rigueur crunchy chords and speed runs; the drumming went beyond the 4/4 time of Coroner's two previous albums to incorporate unusual time signatures which became their trademark. Ron Royce's bass playing is also worth a mention as having an advanced three- finger technique which enables him to double the rhythm line as well as perform more intricate riffs.

Enrico and Diana went to live in Sorrento where their first son, Henrik Daniel and his sister Pamina Victoria, were born. Their second son, Beniamino Michele, was born in Rome in 1988. For seven years the artist supported his family as a language teacher at the university in Naples. However his energy enabled him to paint and exhibit many works in oils in Naples and Sorrento, in Frascati and even in Rome where his sole exhibition in the Saletta Marguttiana was inaugurated by the Swedish Ambassador to Italy. Garff’s exhibitions in Naples were well received by the newspaper Napoli Notte and by the magazine Eco d’arte moderna. Art critic Nino del Prete wrote that Garff’s pallette was the chromatically richest one possibly could imagine.

The unorthodox, chromatic harmonic structure of this movement is generated from a short progression that appears towards the end of the A section, leading to a plagal cadence in the subdominant key (D), chromatically colored with its own minor subdominant chord (G minor). The importance of this progression and of D in general is emphasized by its quotation in a climax of the finale's exposition. This diversion of the main theme's expected cadence leads to the haunted atmosphere of the B section, which is full of chromatic modulations and startling sforzandos. In the second appearance of the A and B sections, almost the entire music is shifted a semitone up, further cementing the importance of the ascending minor second in the sonata as a whole.

Although mordents are now thought of as a single alternation between notes, in the Baroque period a mordant may have sometimes been executed with more than one alternation between the indicated note and the note below, making it a sort of inverted trill. Mordents of all sorts might typically, in some periods, begin with an extra inessential note (the lesser, added note), rather than with the principal note as shown in the examples here. The same applies to trills, which in the Baroque and Classical periods would begin with the added, upper note. A lower inessential note may or may not be chromatically raised (that is, with a natural, a sharp, or even a double sharp) to make it one semitone lower than the principal note.

George David Birkhoff introduced the chromatic polynomial in 1912, defining it only for planar graphs, in an attempt to prove the four color theorem. If P(G, k) denotes the number of proper colorings of G with k colors then one could establish the four color theorem by showing P(G, 4)>0 for all planar graphs G. In this way he hoped to apply the powerful tools of analysis and algebra for studying the roots of polynomials to the combinatorial coloring problem. Hassler Whitney generalised Birkhoff’s polynomial from the planar case to general graphs in 1932. In 1968, Read asked which polynomials are the chromatic polynomials of some graph, a question that remains open, and introduced the concept of chromatically equivalent graphs.

The song features early Beatles trademarks such as call-and-response yeah-yeahs and scaling guitar riffs. Typical also of this phase of Beatles songwriting is the melodramatic ending (similar to "She Loves You", which had just been recorded and was about to be released) where the music stops, allowing Lennon a brief solo vocal improvisation before the song finishes on a "barber shop" major seventh ("She Loves You" ends on a major sixth). The middle eight uses chromatically descending chords over which Lennon, McCartney and Harrison sing in counterpoint. John Lennon, in his last interview, told Playboy magazine that the song was the beginning of a wider audience for Beatles music than the youthful throngs that had fervently followed them from their Liverpool clubbing days.

A diatonic scale with a chromatically alterable b/b-flat was first described by Hucbald, who adopted the tetrachord of the finals (D, E, F, G) and constructed the rest of the system following the model of the Greek Greater and Lesser Perfect Systems. These were the first steps in forging a theoretical tradition that corresponded to chant. Around 1025, Guido d'Arezzo revolutionized Western music with the development of the gamut, in which pitches in the singing range were organized into overlapping hexachords. Hexachords could be built on C (the natural hexachord, C-D-E^F-G-A), F (the soft hexachord, using a B-flat, F-G-A^Bb-C-D), or G (the hard hexachord, using a B-natural, G-A-B^C-D-E).

Much of the Ring, especially from Siegfried act 3 onwards, cannot be said to be in traditional, clearly defined keys for long stretches, but rather in 'key regions', each of which flows smoothly into the following. This fluidity avoided the musical equivalent of clearly defined musical paragraphs, and assisted Wagner in building the work's huge structures. Tonal indeterminacy was heightened by the increased freedom with which he used dissonance and chromaticism. Chromatically altered chords are used very liberally in the Ring, and this feature, which is also prominent in Tristan und Isolde, is often cited as a milestone on the way to Arnold Schoenberg's revolutionary break with the traditional concept of key and his dissolution of consonance as the basis of an organising principle in music.

While many opening themes of symphonic writing of the Classical period typically stayed within diatonic harmony, Beethoven shifts chromatically from C major up to D flat major only about 36 bars into the movement. Given the tempo, a listener would hear that dramatic shift only about 15 seconds into the movement. The finale opens with another introduction consisting only of scale fragments played slowly by the first violins alone (an unusual effect) beginning on G and gradually adding more notes. After finally reaching an F, outlining a dominant seventh chord in C major, the real start of the finale Allegro molto e vivace begins in C major with a theme similar (both in rhythm and character) to the 4th movement of Haydn's Symphony No. 88 in G major.

On the inside is a chromatically tuned row of 15 tarabs and on the right a diatonic row of 9 tarabs each encompassing a full octave, plus 1–3 extra surrounding notes above or below the octave. Both these sets of tarabs pass from the main bridge to the right side set of pegs through small holes in the chaati supported by hollow ivory/bone beads. Between these inner tarabs and on either side of the main playing strings lie two more sets of longer tarabs, with 5–6 strings on the right set and 6–7 strings on the left set. They pass from the main bridge over to two small, flat, wide, table-like bridges through the additional bridge towards the second peg set on top of the instrument.

The quoted fragments are often chosen because they bear a rhythmic or melodic likeness to Mahler's scherzo. For example, Berio uses a violin line from the second movement of Alban Berg's violin concerto with chromatically descending sixteenth notes two measures before a similarly descending line appears in Mahler's scherzo. This is then accompanied by another violin descent, taken from Johannes Brahms' violin concerto . The text from Beckett at this point begins, "So after a period of immaculate silence there seemed", but, instead of continuing the quotation ("a feeble cry was heard by me"), Berio substitutes the words "to be a violin concerto being played in the other room in three quarters" and then, after the Berg quotation, alto 2 insists on "two violin concertos", at the point where Berg is interrupted by Brahms .

The verse begins with two repeated phrases, each consisting of a shift from the i minor (Am) chord to a IV (D7), emphasising the Dorian mode, followed by ♭VII (G), V7 (E7) and i minor chords. The verse continues with a minor iv (Dm) chord for two bars before shifting to V7 (E7), after which a ♭9 (F natural) melody note results in what musicologist Dominic Pedler terms the "dark drama" of an E7♭9 chord and an example of the Beatles' employment of an "exotic intensifier". There then follows a chromatically descending bass line over the i minor chord, leading to VI (F7) and the transition into the 4/4 chorus. The latter presents as a heavy rock 12-bar blues but is abbreviated to 10 bars since the V chord functions as a re-transition to the verse.

Neys are constructed in various keys. In the Arab system, there are seven common ranges: the longest and lowest-pitched is the Rast which is roughly equivalent to C in the Western equal temperament system, followed by the Dukah in D, the Busalik in E, the Jaharka in F, the Nawa in G, the Hussayni in A, and the Ajam in B (or B♭), with the Dukah Ney being the most common. Advanced players will typically own a set of several neys in various keys, although it is possible (albeit difficult) to play fully chromatically on any instrument. A slight exception to this rule is found in the extreme lowest range of the instrument, where the fingering becomes quite complex and the transition from the first octave (fundamental pitches) to the second is rather awkward.

From 1989 on to now, Sascha Reckert, a German glass instrumentalist and glass instrument producer, restored and reproduced glass armonicas from the original used crystal glass with full bass-range, required for the original compositions. He did the first performance with glass armonica of "Lucia die Lammermoor" (Munich state opera) and "Frau ohne Schatten" in a full scene production and invented the Verrophon with glass tubes, with a more powerful sound. Reckert also produced the harmonics of Dennis James, the Wiener Glasharmonikaduo, Martin Hilmer and others. French instrument makers and artists Bernard and François Baschet invented a modern variation of the Chladni Euphone in 1952, the "crystal organ" or Cristal di Baschet, which consists of up to 52 chromatically tuned resonating metal rods that are set into motion by attached glass rods that are rubbed with wet fingers.

The work is three-part ternary; however, it assumes monothematic characteristics. The first occurrence Section A comprises measures 1–19, Section B of 19–43, Section A returns from measures 43–70, and the coda is placed at measures 70–78. A right hand figuration extends over a descending quarter-note melody in the first two bars, outlining the A flat chord. This motive repeats, and then is varied in measures 5–8, in succession. From measures 9–18, the section is restated though a transient modulation to E major (at measure 15). An imperfect cadence in the tonic bridges the transitory gap in measure 18 to the B section in E flat. Measures 19–20 introduce a variant of the main motive. Now in a new key, the bass melody changes, descending chromatically in an eighth-note figure.

Moreover, these forms are organic, but seem rather than being symbols or signs, are images of simple plantlike and animal life forms. The pictures bear titles such as Rock Garden, Eidos, or Primordial Vegetable. As an indefatigable researcher and collector, Baumeister also owned examples of African sculpture, in which he, as in the case of the prehistorical artifacts, saw universal images for life, development, and human existence. Correspondingly, their formal language entered Baumeister’s work in the early 1940s—highly abstracted, at first chromatically restrained (African Tale, 1942), and with time, became increasingly colorful and in part very complex in their formal design (Owambo 1944–1948). Both the titles and formal language reveal Baumeister’s preoccupation with other old (Latin American) cultures (Peruvian Wall, 1946, and Aztec Couple, 1948). Another example of his search for the “foundations of art” is Baumeister’s transposition of the Gilgamesh Epic, one of the oldest surviving literary works.

The augmented fifth only began to make an appearance at the beginning of the common practice period of music as a consequence of composers seeking to strengthen the normally weak seventh degree when composing music in minor modes. This was achieved by chromatically raising the seventh degree (or subtonic) to match that of the unstable seventh degree (or leading tone) of the major mode (an increasingly widespread practice that led to the creation of a modified version of the minor scale known as the harmonic minor scale). A consequence of this was that the interval between the minor mode's already lowered third degree (mediant) and the newly raised seventh degree (leading note), previously a perfect fifth, had now been "augmented" by a semitone. Another result of this practice was the appearance of the first augmented triads, built on the same (mediant) degree, in place of the naturally occurring major chord.

During the development, the dialogue between the instruments becomes intensified, and Mozart shows his grasp of counterpoint without ever sounding academic or "learned". The following trio opens with a chromatic four-note phrase, to which the viola responds with a run of lively triplets, accompanied by chromatic chords from the piano (bars 42–62, repeated). In the development of that theme, the four-note phrase and the lively triplets are then taken up by the piano, and clarinet and viola present some chromatically rising lines, before all three instruments start a concerto-like conversation where the 4-note phrase is only heard twice in the piano left hand (bars 63–94, repeated). The final part of the trio starts with a variation of the trio's four-note phrase, which is briefly developed (bars 95–102) before returning to the brighter theme of the Menuetto whose treatment ends the movement without repeats.

Opening of No. 1 The tempo markings of the three pieces are: The first two pieces, dating from February 1909, are often cited as marking the point at which Schoenberg abandoned the last vestiges of traditional tonality, implying the language of common-practice harmony that had been inherent in Western music, in one way or another, for centuries. The functionality of this language, to Schoenberg at least, had by this time become stretched to bursting point in some of the more chromatically-saturated works of Wagner, Mahler, Richard Strauss and indeed some of Schoenberg's own earlier tonal works such as the string sextet Verklärte Nacht, Op. 4 of 1899. Although there are vestigial, superficial remnants of tonal writing, such as lyrical melody, expressive appoggiaturas, and chordal accompaniment, tonal hearing and tonal analysis are difficult to sustain. Nevertheless, at least three attempts at tonal analysis of the first piece have been made, by three respected authorities.

The artwork attracted controversy for showing the island of Taiwan as a sovereign entity, rather than as part of the People’s Republic of China.Martin Bailey (5 April 2019), Wallinger's upside- down globe outside LSE angers Chinese students for portraying Taiwan as an independent state The Art Newspaper. After dueling protests by students from both the PRC and ROC and reactions by third party observers (which included the President of Taiwan, Taiwanese Ministry of Foreign Affairs and the co- chairs of the British-Taiwanese All-Party Parliamentary Group in the House of Commons) the university decided later that year (2019) that it would retain the original design which chromatically displayed the PRC and ROC as different entities but with the addition of an asterisk beside the name of Taiwan and a corresponding placard that clarified the institution's position regarding the controversy. A group of students repeatedly vandalised the globe for its omission of the state of Palestine, a non-member observer state in the United Nations.

The main section of "Don't Leave Me Now", recorded with synthesizer bass, organ, piano, and a delay-treated guitar, does not adhere to one single key, but rather cycles slowly through four dissonant and seemingly-unrelated chords, for two measures of each: An E augmented chord, followed by a D flat major seventh chord, a B flat dominant seventh chord with a suspended second, followed by a G Major chord, which, after one bar, augments its fifth, before returning to the beginning of the progression. The first three chords all sustain the notes G♯/A♭ and C, and this interval is then lowered chromatically by one semitone for the conclusion on G Major. Furthermore, the roots of this chord progression (E, D♭, B♭, and G) outline the intervals of a diminished seventh chord. The roots relate to each other as a pair of tritones - the E and B♭ form one tritone, and the D♭ and G form the other.

By using the fourth valve by itself to replace the first and third combination, or the fourth and second valves in place of the first, second and third valve combinations, the notes requiring these fingerings are more in tune. The fourth valve used in combination with, rather than instead of, the first three valves fills in the missing notes in the bottom octave allowing the player to play chromatically down to the fundamental pitch of the instrument. For the reason given in the preceding paragraph some of these notes will tend to be sharp and must by "lipped" into tune by the player. A fifth and sixth valve, if fitted, are used to provide alternative fingering possibilities to improve intonation, and are also used to reach into the low register of the instrument where all the valves will be used in combination to fill the first octave between the fundamental pitch and the next available note on the open tube.

26 for solo voice and orchestra. In this song as in the other two, he relies less on functional tonality as on creating a mood, in this case, of a sweeping wind that is personifying one wild and drunk with love. The accompaniment is a constant ascending and descending of arpeggios and scales, painting an impression of the wind, upon which the voice is the message that the wind bears, mostly in broad half and quarter notes traveling chromatically in half steps with the occasional leap. This synthesis of piano and voice illustrates one concept, rather than the text painting of individual words as in the first piece. In keeping with the overall shape of the set, the range of the song peaks on a G, leading into the dynamic climax on a G flat on the word ‘Schonheit,’ or ‘beauty.’ The harp-like accompaniment ends on a D octave, but there is no triad and therefore no feeling of cadence.

Clarinets with few keys cannot therefore easily play chromatically, limiting any such instrument to a few closely related keys. For example, an eighteenth-century clarinet in C could be played in F, C, and G (and their relative minors) with good intonation, but with progressive difficulty and poorer intonation as the key moved away from this range. In contrast, for octave-overblowing instruments, an instrument in C with few keys could much more readily be played in any key. This problem was overcome by using three clarinets—in A, B, and C—so that early 19th-century music, which rarely strayed into the remote keys (five or six sharps or flats), could be played as follows: music in 5 to 2 sharps (B major to D major concert pitch) on A clarinet (D major to F major for the player), music in 1 sharp to 1 flat (G to F) on C clarinet, and music in 2 flats to 4 flats (B to A) on the B clarinet (C to B for the clarinetist).

Stravinskian neoclassicism was a decisive influence on the French composers Darius Milhaud, Francis Poulenc, and Arthur Honegger, as well as on Bohuslav Martinů, who revived the Baroque concerto grosso form in his works . Pulcinella, as a subcategory of rearrangement of existing Baroque compositions, spawned a number of similar works, including Alfredo Casella's Scarlattiana (1927), Poulenc's Suite Française, Ottorino Respighi's Ancient Airs and Dances and Gli uccelli , and Richard Strauss's Dance Suite from Keyboard Pieces by François Couperin and the related Divertimento after Keyboard Pieces by Couperin, Op. 86 (1923 and 1943, respectively) . Starting around 1926 Béla Bartók's music shows a marked increase in neoclassical traits, and a year or two later acknowledged Stravinsky's "revolutionary" accomplishment in creating novel music by reviving old musical elements while at the same time naming his colleague Zoltán Kodály as another Hungarian adherent of neoclassicism . A German strain of neoclassicism was developed by Paul Hindemith, who produced chamber music, orchestral works, and operas in a heavily contrapuntal, chromatically inflected style, best exemplified by Mathis der Maler.

Schoenberg specified many strict rules and desirable guidelines for the construction of tone rows such as number of notes and intervals to avoid. Tone rows that depart from these guidelines include the above tone row from Berg's Violin Concerto which contains triads and tonal emphasis, and the tone row below from Luciano Berio's Nones which contains a repeated note making it a 'thirteen-tone row': Thirteen-note tone row from Luciano Berio's Nones,Whittall 2008, 195. symmetrical about the central tone with one note (D) repeated. Igor Stravinsky used a five-tone row, chromatically filling out the space of a major third centered tonally on C (C-E), in one of his early serial compositions, In memoriam Dylan Thomas. In his twelve-tone practice Stravinsky preferred the inverse-retrograde (IR) to the retrograde-inverse (RI),Claudio Spies, "Notes on Stravinsky's Abraham and Isaac", Perspectives of New Music 3, no. 2 (Spring-Summer 1965): 104–26, citation on 118.Joseph N. Strauss, "Stravinsky's Serial 'Mistakes'", The Journal of Musicology 17, no. 2 (Spring 1999): 231–71, citation on 242.