It's not afraid to have people talking to each other while gasping for breath, or having a music-like ebb and flow that crescendos, diminuendos, fades out and sparks back up again.
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Unlike many of his contemporaries, Couperin remained attached stylistically to la grande tradition française, and his pieces have been criticized for their lack of modernity. However, David Fuller cites his experimental impulse and urge to explore the possibilities of instruments. An example is his Simphonie de clavecins, the only work in existence that requires two harpsichords with genouillères (knee-levers that allowed diminuendos).
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Later, specifically in the A major section, there are some crescendos and diminuendos marked in the piano part. The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody. This movement of Liederkreis has several applied chords, such as V/V. Almost exclusively, these applied chords do not resolve to the expected chord.
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This emphasis on emotional communication was supported by an increasing confidence in using more complex harmony, and by instruments and ensembles capable of greater extremes of dynamic. At the start of the 19th century, and were the most extreme dynamic markings commonly used, but by the late century and . Romantic composers also made increasingly detailed use of expressive markings like crescendos and diminuendos, accents and articulation markings.
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A wistful recollection of the melody from the preceding Larghetto appears and then diminuendos away. The movement's recapitulation starts with the main theme, followed in turn by the second and third themes. A 20-bar eighth-note passage leads into a quotation of the first movement's theme, bringing the piece full circle. A Presto coda follows, and the Serenade ends with three E major chords.
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Expression marks (including fermatas) are also written above the music line. Special attention has to be paid on the staccato dot since it looks like the octave changer. It is either represented by a bolder dot further away from the music line or by the staccatissimo sign instead, which is an inverted triangle. Dynamics (, , , etc.) and hairline crescendos and diminuendos are written below the line of music to which they apply, as in Western notation.
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Rosina Theresia Petronella Cannabich was born in Mannheim, the daughter of the violinist and composer Christian Cannabich and his wife Maria Elisabeth née de la Motte, a lady of the bed chamber to the Duchess of Zweibrücken. She was baptized on 18 March or in April. Her father was the principal violinist (Konzertmeister) in the Mannheim court orchestra. He was instrumental in the Mannheim School, training the orchestra to its noted carefully graduated crescendos and diminuendos.
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This piece consist of only one movement and the average duration varies widely from recording to recording. It is scored for 42 recordings disposed in eight tracks in a mixing studio, all of them being re-recorded into tape as disposed in the score. The score itself is a block- grid, wherein each square is meant to be three inches of recording (around 0.2 seconds). The score also indicates the changes in dynamics and includes crescendos and diminuendos.
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It is an example of the predominantly electric guitar- based genre the band employed at the time; featuring quiet, clean sections contrasting with loud, distorted sections, sometimes connected with crescendos and diminuendos. This dynamic contrast was referred to by the band as "serious guitar music". "Yes! I Am a Long Way from Home" received a positive reception from music journalists, with album reviews focusing mainly on the effectiveness of the dynamic contrast featured within the song, the band's usage of instrumentation, and the track's overall representation of the band's genre at the time.
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However, Widor was at the forefront of a revival in French organ music, which utilized a new organ design pioneered by Aristide Cavaillé-Coll that was "symphonic" in style. The organ of the Baroque and Classical periods was designed to project a clear and crisp sound capable of handling contrapuntal writing. Cavaillé-Coll's organs, on the other hand, had a much warmer sound and a vast array of stops that extended the timbre of the instrument. This new style of organ, with a truly orchestral range of voicing and unprecedented abilities for smooth crescendos and diminuendos, encouraged composers to write music that was fully symphonic in scope.
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At bar 19, the melody begins its ascent to the climax of the piece, gradually building up through the use of crescendo to propel it to peak at the end of bar 21. Near the end of bar 22, the melody diminuendos to the subsequent measure, where the theme of the climax is repeated an octave lower. A pianissimo drone-like part that moves in parallel motion—featuring consecutive fifths in some places—comes in at bars 24 to 27. In the next measure, the prelude's coda sees the return of the opening theme one last time—albeit at an octave higher—followed by the droning motif.
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An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D-flat major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda.
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Although Mono's musical style has developed throughout their career, it has primarily been characterised by dynamic, guitar-based instrumental soundscapes, the majority of which are composed by lead guitarist Takaakira Goto, in an attempt to channel and express the emotions of joy and sorrow. The band's style of music originally featured elements of minimalism and noise, and later developed to integrate more complex, orchestral arrangements and instrumentation. Mono's music has been categorised as both contemporary classical and post-rock, but Goto has stated: Goto performing in 2007; the band provides an emotional live performance Mono has toured worldwide several times. Their live show tends to feature intense and emotional playing by the band members, as well as using extreme dynamics (in crescendos as well as diminuendos) in their attempt to create an "unforgettable" live performance.
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Correspondence to The Musical Times in 1916 debates the merits of both the ratchet lever and balanced pedal systems of expression. One writer suggests that balanced expression pedals are either too sensitive or not sensitive enough and are unable to produce effective sforzandos (though many improvements have been made since this letter was written), and that he knows many organists who are having balanced expression pedals removed. One organist most open to the change suggests that real crescendos and diminuendos are not possible with a ratchet swell lever, as the notches provided are always either just under or just above the required dynamic level. Furthermore, he states that the balanced expression pedal affords the ease of use of either foot, whereas the previous correspondent desired two ratchet levers, one at either side of the pedalboard.
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For example, the mass dated 24 February 1740 is scored for two choirs (the final 'cum Sancto Spiritu' is a ten voice fugue), full strings divided, in some sections, in two orchestras, woodwinds (no clarinets), horns and trumpets in pairs. It displays a highly detailed orchestral writing: muted strings, seconda corda instructed in passages for the violins, plenty of orchestral crescendos and diminuendos, solo parts for the woodwinds and for the viola. In this period, Perez treated solo voices in a manner similar to operatic arias, most fugues or fugato sections have very symmetrical entries of themes, and the pieces in the so-called stile antico are conservative in harmony and notation. Unlike the operas, there is no definite date when it is possible to see a change in the style of Perez's late church music.
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