104 Sentences With "tremolos" | Random Sentence Generator

Late in the "Diamonds" pas de deux, the ballerina evades her partner while the strings play tremolos.

Then, over the chorus, he ascended the fingerboard with gruff tremolos followed by some reckless-sounding syncopated chords.

During an agitated episode, backed by erupting tremolos, Mr. Müller-Schott's intense expressivity is balanced by admirable clarity and directness.

Tremolos in the strings (here the Dutch Pelargos Quartet) begin to blend with the chopping noises of the rotor blades.

The relentless trills and tremolos of Scriabin's Sonata No. 10 — which is sometimes played lusciously but was here diffuse and gauzy — glittered angrily.

This short work, dedicated to John Cage, is a subdued study in soft, keyboard-spanning tremolos that create harmonically shifting spans of sound.

" The high strings produced fierce tremolos in the "Meadows" movement, and the percussionists and double basses sketched a harrowing, thundering "March to the Scaffold.

Passages of soft, buzzing string tremolos — interlaced with pointillist squiggles and Messiaen-like bird calls — were almost more nerve-racking than the thick demonic eruptions.

Most orchestras seem to generate raw power mainly through the brasses, but in this one the strings are no less crucial, playing tremolos and pizzicatos with incomparable energy.

There was no wallowing in sentiment, but tremendous emotion expressed though the intensity of the playing — with, for example, the strongest tremolos this side of the Vienna Philharmonic.

The music in the five acts of "L'Amour" unfolds in shimmering hazes and dramatic surges, the iridescent textures punctuated by tremolos, glissandos and staccato use of wind and percussion instruments.

At various points, the trills, tremolos, dynamic swells and flickers of melody that emerged over the steady drone of the bagpipes meshed into colorful surges that did indeed evoke wind chimes.

Tom McDermott mastered fearsome Jelly Roll Morton compositions like the aptly-titled "Finger Breaker"; Davell Crawford, even brawnier and wilder, flung tremolos and glissandos all over the place in a Booker tribute.

The music, by Akira Miyoshi and Michael Gordon, is more urgent — tremolos on marimba, mysterious and thunderous — and the choreography is more agitated: an exchange of whiplash duets and trios like excited molecules.

The production applies the reverential tone and cavernous reverberations of Sigur Ros — tolling piano notes, slow cymbal crescendos, shivery string tremolos — while Jónsi's high voice hovers, in wordless oohs and ahs, like a distant benediction.

This moment comes early in the work, but listen for the friction already in play between the scale-like runs in the winds and the ebb and flow of glissando slides and tremolos in the strings.

Ms. Kozena sang with affecting warmth and shimmering sound, supported by lush, agitated strings (the violinists Giovanni Guzzo and Rahel Maria Rilling, the violist Amihai Grosz and the cellist Dávid Adorján) and a piano alive with tremolos.

Across 59 minutes of graceful tremolos and mathy, melodic chord progressions, the San Francisco-founded five-piece stretched black metal to its limits, held together by frontman George Clarke's howling vocals and a general adherence to the genre's rhythmic sensibilities.

If you've heard of Stockhausen, it may well be because of this bit of "Licht": a Dada ballet for fume-belching helicopters and string tremolos that plays on the tension between the careful planning (not to mention financial and carbonous resources) needed to perform it and the pure, gonzo joy inherent in its conception.

The first tremolos were the ESP Guitars Flicker tremolos or the Rockinger tremolos. However, by 1984, the Floyd Rose had taken over.

Rolls that don't use tremolos typically incorporate different articulations and dynamics, although this is not always the case.

A bassoon replaces Ravel's horn in this movement, and alternates with mysterious string tremolos. The end fades into the next section.

They were made with both normal and reversed headstocks. There are examples of both non- recessed and recessed Floyd Rose tremolos.

Kramer partnered with a German inventor named Helmut Rockinger, and installed his bulky tremolos, precursors to Floyd Rose systems, on its instruments.

The mysterious string tremolos reappear in this section, having the bulk of the melody. Flutes enter at the end, anticipating the next movement.

Non-locking (or vintage) tremolos are the bridges found on guitars manufactured prior to the advent of the Floyd Rose locking tremolo in the late 1970s and many (typically cheaper) guitars manufactured thereafter. For many playing styles, vintage tremolos are a good choice because they are easy to use and maintain and have very few parts. Some people feel that they can also provide a better degree of sound transfer, especially with tailpiece type tremolos such as the Bigsby lever used on vintage instruments. However, the "Synchronized Tremolo" type found on the Fender Stratocaster is balanced against a set of screws in much the same manner as a locking tremolo.

The JT6 tremolos were dropped in favor of the Schaller Floyd Rose style, which are recessed into the face of the body. Later in the decade, genuine Floyd Rose models returned.

Reiteration ( and ) Beams are also used as a notational abbreviation to indicate tremolos and reiterations. If used for those purposes, a note, or pair of notes, of any value can be beamed.

This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, and more. After all three parts are mastered, Hanon recommends all exercises be played through daily to retain technique.

The string tremolos return more ominously than ever in this movement, although the orchestration is not as dark as Ravel's. The sentimental second section features a solo violin, with frequent use of portamento.

After these more agitated explorations of the theme, a much lighter texture prevails with tremolos accompanying another minor 3rd- centric melody. The piece concludes as the low C "bells" continue their inescapable tolling.

The work requires exceptional virtuosic skills, with extremely fast overlapping octaves, fast scales with left accompaniments, enormous leaps, rapid octave chords, tremolos, double octaves and trills. A typical performance of this piece lasts 10 minutes.

It sings from bush tops but does not usually perch on trees or wires. The calls are similar to that of Jerdon's bush lark but are lower and have longer rattling tremolos often falling in pitch.

II, p.16. Accessed: September 28, 2015. a widely distributed collection of silent film music. It has been described as reflecting "the tradition of stealthy tremolos that marked the entrance of villains in 19th century stage melodrama".

For a period spanning from the mid-1980s to the time when Kahler ceased production in the early 1990s, Kahler also produced fulcrum-based systems similar to the Floyd Rose brand of tremolos. The 2600 "Steeler" tremolo was licensed to Kahler by Floyd Rose during the late-1980s. The 2500 and 2520 (the former having steel rollers; the latter brass), were designed as an alternative to the stock Fender tremolo system, and were offered on several Fenders during the 1980s. Today, Kahler no longer produces fulcrum-based tremolos.

The scoring is generally heavy, and Bartók employs many colorful techniques here, including chromatic scales, trills and tremolos in the woodwinds; glissandi in the horns, trombones and tuba; cluster chords and tremolos on the piano; scales and arpeggios on the piano, harp and celeste; and scales, double stops, trills, tremolos, and glissandi in the strings. Other special effects include fluttertonguing in the flutes; muting the brasses and strings, a cymbal roll a deux (a cymbal crash followed by scraping the plates together); playing the bass drum with the wooden part of a timpani mallet; a roll on the gong; rolled timpani glissandi; string harmonics; col legno and sul ponticello playing in the strings; scordatura in the cellos; and, at one point, quarter-tones in the violins. In 2000 a new edition edited by Peter Bartók, the composer's son, was published. Based on the composer's written manuscripts, corrections, and the concurrently written score for piano with four hands, it restored a considerable amount of previously lost music.

Released: February 2017 New features include Auto-backup, Tutorials tab, and Videos button; improvements made to accidentals, bar numbers, barlines, brackets and braces, clefs, color, dynamics, grace notes, hub window, instruments, lyrics, players, popovers, printing, project info, rests, tempo, text, and tremolos.

Prokofiev expands the sound palette with string Tremolos and dissonant chords in the brass. This movement also includes many more key changes and expands the machine-like ostinati from the first version. Prokofiev also utilizes more transitional material before introducing and underscoring the new subjects.

Stokowski, like Ravel, uses mainly woodwind textures here; however, the two orchestrations manage to sound completely different. Stokowski's arrangement does not smooth over the dissonances as Ravel's does: it accentuates them. The string tremolos reappear in the middle section, alternating with a squeaking oboe.

An example is a coda during the scene in which Birju runs away from his mother and rejects her. It features a powerful symphonic orchestra with strings, woodwinds and trumpets. This orchestral music contains extensive chromaticism, diminished sevenths, and augmented scales. It also features violin tremolos.

The improved transfer of string vibration into the body has an effect on the sound, so guitars with this type of bridge have different characteristics than those with tremolos, even when removed. There are no springs in the body or a cavity to accommodate them, which also affects resonance.

Allmusic gives the album 3 stars stating "Les McCann's second album for Limelight is loaded with his mid-'60s trademarks -- the deep-down gospel rhythmic feeling and amen responses, the insistent McCann piano tremolos and wide-screen chording, a leisurely excursion into the blues ("Les McNasty"), and party time all around".

ACL 2017 ~ The Top 20 Albums of the Year. A closer Listen, 21.12.2017 „“Quake,” which is for cello solo and large chamber ensemble, is pretty much what its title suggests, the music of the ground not being steady under your feet. Nothing is settled, everything is in trills and tremolos and glissandi.

Also, instead of the standard vibratos of the earlier age, there were Burns tremolos. Then, in 1968 the Bigsbys were optional with the guitars and instead of the Filtertrons there were Super- trons added on it. This lasted until 1971, when Gretsch decided to switch back to the original single cut models.

Some models exported to UK were fitted with Kahler Traditional Series tremolos, stamped "Made in the USA", and supplied with the American Precision Metal Works, Inc. set-up instructions and Allen keys. The pickups used in the Contemporary models were manufactured by Fujigen. All of the pickups used on the Contemporary models have alnico magnets instead of ceramic.

Aime-moi (Love me), in A minor, features repeated chords, tremolos, and arpeggios. The first theme is similar of that to Chopin's style. Between the beginning of the piece and the climax in the middle, the subdivision of the beat gradually increases. It starts with eighth notes, changes to triplets, and then sixteenth notes, and then five notes per beat, etc.

Fender produces a Buddy Miller signature acoustic guitar. Buddy frequently uses vintage Wandré electric guitars and TEO mando-guitars. In his studio, Buddy uses a pair of Swart amplifiers: Atomic Space Tones and Atomic Space Tone Pros, and two tremolos panned in stereo at conflicting settings. Onstage, he often uses a Swart Atomic Space Tones amplifier and a Fulltone Supa-Trem2 pedal.

In the three arias Bach sets extreme affekts to music: desperate lament, intense longing and blissful joy. The first aria is based on an ostinato continuo, comparable to the opening of . First the violin, then the tenor perform an expressive melody and repeat it several times. The contrasting middle section is underlined by tremolos in the strings in daring harmonies.

The fact that both hands have access to all of the strings means that both hands are able to pluck the same strings at a fraction of a second apart and thus produce complex tremolos and other effects. It is not possible to create these effects on the Kyiv style bandura and are not possible to be reproduced even when two Kyiv style instruments are played simultaneously.

Also noted were the extravagant liberties that he could take with the text of a score. Berlioz tells how Liszt would add cadenzas, tremolos and trills when he played the first movement of Beethoven's Moonlight Sonata and created a dramatic scene by changing the tempo between Largo and Presto.See Berlioz's essay about Beethoven's Trios and Sonatas, in: Musikalische Streifzüge, transl. Ely Ellès, Leipzig 1912, pp.

The performer series were produced prior to the Fender takeover. This range includes the Jackson RR7, a seven-string Randy Rhoads design, with lower quality hardware. This series also included dinky style guitars, which were, for the most part, fully loaded, having 3 humbucker pickups, reverse headstocks, 24 frets and floyd rose tremolos. These guitars are low-end models that were built in Korea (and later Japan).

Giddins described the nature of Byard's piano playing: "His tone [...] is unfailingly bright. His middle-register improvisations are evenly articulated with a strong touch and rhythmic elan [... he] likes ringing tremolos and portentous fifths [... and] barely articulated keyboard washes that float beyond the harmonic bounds but are ultimately anchored by the blues".Giddins, Gary (March 27, 1978) "Jaki Byard Spreads the New Tolerance". Village Voice. p. 56.

Some also preferred tremolos on their Telecasters, installing a Bigsby on them. The most common variants of the standard two-pickup solid body Telecaster are the semi-hollow Thinline, the Custom, which replaced the neck single coil-pickup with a humbucking pickup, and the twin-humbucker Deluxe. The Custom and Deluxe were introduced during the CBS period and reissues of both designs are currently offered.

Steel rollers can also be used. Kahler also produces a bass tremolo system. The first two bridges Kahler sold after their return in 2005 were 2410 bass tremolos. Guitars that have carved tops (as opposed to flat, like the Fender Stratocaster), such as the Gibson Les Paul, cannot properly mount the 2300 series of Kahler tremolo, and instead have to use a stud-mounted 2200 series.

Given that this type of tremolo is installed on solid body guitars the degree to which sound transfer affects the sound that the instrument produces is minimal. Also, keeping a guitar with a non-locking tremolo in tune can be difficult. The most common types of non-locking tremolos are the "Synchronized Tremolo" type and an almost endless stream of copies. The Bigsby vibrato tailpiece is another option.

Schaller GmbH is a German manufacturer of musical instrument hardware based in Postbauer-Heng near Nuremberg, Bavaria. It designs, produces and sells guitar tuners, bridges, tremolos, strap locks and other accessories primarily for guitars. Schaller was founded in Feucht near Nuremberg in 1945 by Helmut Schaller as a radio repair shop. Since then, Schaller has developed into one of the foremost regarded suppliers for the music instrument industry.

The first theme clearly represents the wind, with sad extended chords superimposed by languid chromatics. The second theme is in D major (the relative key to B minor), and features sweeps for the left hand while the right performs the melody in octaves (quoting the Allegretto of Beethoven's Seventh Symphony) with tremolos played within. Then the first theme returns fiercely with tremolos instead of chords for the left hand. Surprisingly, after chilling chromatic scales deep in the bass register, the piece ends with one final light ascending chromatic scale and a B major chord. Kaikhosru Shapurji Sorabji wrote of this piece in 1932 that it was > familiar ... — too familiar one is tempted to say, for most people think of > Alkan, indeed only know him, as the composer of ‘Le Vent’, as they know only > the Sibelius of the ‘Valse Triste’ or ‘Finlandia’; the great master of ‘Le > festin d'Ésope’ and the Fourth Symphony respectively being completely a > terra incognita.

The final movement is also written in sonata form. After a brief introduction, the horns and trumpets declare the movement's main theme against sharp chords played by the rest of the orchestra. The second theme is then presented by the clarinet above tremolos in the strings. The development not only works with these two themes but also recalls the main themes of the first and second movements and a fragment of the Scherzo.

Vers la flamme (Toward the flame), Op. 72, is one of Alexander Scriabin's last pieces for piano, written in 1914. The melody is very simple, consisting mainly of descending half steps, but the unusual harmonies and difficult tremolos create an intense, fiery luminance. This piece was intended to be Scriabin's eleventh sonata; however, he had to publish it early because of financial concerns. Hence, the piece is labelled a poem, rather than a sonata.

While stringed instruments of China were designed to produce precise tones capable of matching the tones of chimes, stringed instruments of India were considerably more flexible. This flexibility suited the slides and tremolos of Hindu music. Rhythm was of paramount importance in Indian music of the time, as evidenced by the frequent depiction of drums in reliefs dating to the Middle Ages. The emphasis on rhythm is an aspect native to Indian music.

When the sales figures came in, Kramer was the best-selling guitar brand of 1985. In 1986 Kramer switched to the radically drooped "pointy headstock" design, no doubt influenced by the pointy designs of Jackson/Charvel and other manufacturers such as Hamer and Washburn. Schaller tuners, Floyd Rose tremolos, Seymour Duncan pickups and exciting graphics by talented factory artists such as Dennis Kline helped propel Kramer to become the best-selling guitar brand of 1986.

Near the end, a concealed children's song appears "like wind", in agitated, dissonant tremolos over a solemn bass line . This tonal melody, introduced as a simulated short-wave radio signal, appears to be intended to provoke a strong emotional reaction . Although the score specifies that the six groups be placed "as far apart from one another as possible", the version conducted by the composer in London on 9 March 1973 did not differentiate them spatially .

Later, and most common beak guitars, were manufactured with a beak headstock from the factory. Wooden-necked instruments represented Kramer's first foray into offshoring the production of guitar components to Eastern Asia. Tuning keys and vintage fulcrum tremolos were made by Gotoh in Japan, while the necks were made by Japan's ESP Guitars and shipped to New Jersey for fretting and finishing. Kramer executives saw that the guitar techniques of the early 1980s demanded a high-performance tremolo system.

"Signature" Valley Arts features often included highly figured wood grain on the front, translucent colored finishes, gold hardware, Floyd Rose locking tremolos, EMG and Seymour Duncan humbucking pickups. In late 1990 the store was destroyed by fire. Underinsured, McGuire and Carness found it necessary to sell the store and concentrate on the manufacturing side of the business. In an attempt to expand their business, in 1992 they sold half of Valley Arts to the Korean guitar manufacturer Samick.

The glowing body of the Mandarin is represented by the entry of a chorus singing wordlessly, once again in the interval of a minor third. The climax, after the girl embraces the Mandarin, is a theme given out fortissimo by the low brass against minor-second tremolos in the woodwinds. As the Mandarin begins to bleed, the downward minor-third glissando heard at his entry is echoed in the trombone, contrabassoon and low strings. The work then stutters arhythmically to a close.

Most of his guitars are equipped with Kahler tremolos. Glenn uses standard-light (10–46) gauge strings produced by Ernie Ball and thin picks. Throughout his career, Glenn has used many tunings, most frequently standard tuning (almost all of the songs written before Rob Halford left the band were originally in E-standard). Ever since Rob Halford rejoined Judas Priest, both Glenn and KK have used E-flat tuning during live shows, while still using standard tuning extensively on studio albums.

After each excursion the theme keeps coming back around as in a typical rondo. It has been hailed as one of the most technically challenging solo piano compositions in classical pianism. It contains a great quantity of effects and virtuoso feats, including chord tremolos with accompanying thirds, wide jumps, fast repetitive notes, and arpeggios and octaves at a breakneck tempo, keeping a deciso (decisive) attitude throughout. Compared to La campanella's infamous two-to-three octave jumps, the Rondeau's leaps are two octaves greater.

See, for example, C.A. Powers: 30 Elizabethan Songs - With Documentation, Chapter Twenty - Monsieur's Almain, 2008 Elizabeth Roche, reviewing a CD of his work for the Daily Telegraph commented on the current neglect of Bacheler's music, suggesting that one reason is the "difficulty of his ornamental style, including arpeggios, trills, and even the dazzling tremolos that conclude his variations on Monsieurs Almaine".Telegraph.co.uk retrieved 1 February 2008. The Heralds Visitation records show that Bacheler received a grant of arms in 1606.Batchelor p.

There are examples of the Soloist idea going back to the days before Jackson was an official company and just a side project of Grover Jackson while he was running Charvel. Early examples have set necks, Stratocaster-shaped bodies, Explorer style headstocks, and often Charvel appointments like vintage tremolos. In the earliest days of the official Jackson company, the general Soloist style was not quite official. These models often have variations in items that later became standard like size and shape and controls placements.

A tremolo in percussion indicates a roll on any percussion instrument, whether tuned or untuned. A tremolo is notated using strokes, or slashes, through the stem of a note. In the case of whole notes, the strokes or slashes are drawn above or below the note, where the stem would be if there were one. For the case of a snare drum and some other percussion instruments, rolls may be indicated by individual notes or with the use of tremolos, depending on the sheet music's notation.

The band signed a recording contract with Decca Records. Their records sold thousands of copies in Scotland, but with only two chart shops in Scotland their sales made no impact on the UK charts. They split in 1969 after their van was stolen with all their equipment in it. After The Beatstalkers decided to call it a day in 1969 Mair began making leather clothes and hand made boots for rock bands the likes of Yes, Santana, The Tremolos, David Bowie, Uriah Heep and many more.

The slow movement that opens with the appearance of a muted trumpet followed by a melody developed and later imitated over tremolos and trills, resembles a nocturne. The middle, scherzo-like part is based on a prominent motive, later transformed to imply a caricatured waltz. The final movement is conceived in the form of a Rondo with three themes ending with an energetic bass bassoon solo. Sonatina for piano (1926), with its prominent historicist and modernist tendencies represents one of the most performed works by Predrag Milošević.

A locking tremolo uses a bridge that has uses a small clamp in each saddle to hold the strings in place (usually adjusted with an Allen key). The nut at the end fingerboard also clamps the strings to hold them in place. This arrangement is especially useful for playing that requires tapping or heavy "bending" playing styles, such as shred guitar "dive bombing" effects. Locking tremolos provide excellent stability, but their fulcrum points provide minute contact with the body, which might disturb sound transfer.

The final movement is set in sonata form. The lively, fanfare-like first theme, derived from the first "Dies Irae"-like theme of the Scherzo, is played by the entire orchestra, leading into a march- like interlude starting in G# minor played by woodwind. After the return of the first theme, the first subject is concluded, and transitions directly into a massive, broad melody in D major played by strings. After dying down to pianissimo, the opening theme of the third movement, this time in D major, is briefly recalled over string tremolos.

The first bar of the Transcendental Étude No. 12 Transcendental Étude No. 12 in B minor is an étude for piano written by composer Franz Liszt. It has the programmatic title "Chasse-neige" (impetuous wind which raises whirls of snow), and is the 12th and last of the Transcendental Études. The étude is a study in tremolos but contains many other difficulties like wide jumps and fast chromatic scales, and it requires a very gentle and soft touch in the beginning. The piece gradually builds up to a powerful climax.

This movement again shows a conscious difference from Ravel's: The Frenchman's is a pounding, brutal, percussionistic piece, while Stokowski's is more a grotesque scherzo—a danse macabre. The piece opens with the major sevenths being given out in snarls of muted brass. As in "Gnomus," phantasmagoric effects of orchestration flit briefly by in a nightmarish kaleidoscope—grunting strings, snarling brass, shrieking woodwinds. The middle section features Stokowski's most brilliant orchestral touch in the piece—fluttertongued trills and tremolos on the horns and muted trumpets; later the downward chromatic scale is fluttertongued on the muted trombones.

The first movement, which requires almost half an hour to play and has 1342 bars, is marked "Allegro assai". Performance demands tremendous physical endurance, and great technical skills to cover features including arpeggios, octave runs, scales, leaps, grace notes, alternating hands, swiftly changing block chord motifs, tremolos, and trills executed by the fourth and fifth fingers with the melody played on the same hand. Alkan stays close to the classical sonata form, using a double exposition, but the exposition and development sections are expanded greatly. center The opening bars, constituting the first theme, are marked "quasi-trombe" (like trumpets).

The 'Aviation Series', which appeared around 2006 and ran for about a year, equipped certain mass-produced model bodies (the PT, Tempest, S-1, etc.) with World War II US (and British) aircraft colors and markings, and special pickup covers that look like cooling louvers. Schecter also makes seven-string models, and recently, eight-string models. Schecter's 'Diamond series' guitars use components such as TonePros locking bridge products on non-tremolo models and original Floyd Rose double locking tremolos on many of the six and seven string models. Many models also feature USA EMG or Seymour Duncan pick-ups and Grover tuners.

Morte (Dead), in E minor, quotes the Gregorian chant of Dies Irae. The piece is the longest of the three, and features difficult, dense chord passages, sixths, trills, tremolos and repeated notes. In part of the piece, there is a constant tolling of a B in a very similar way as Ravel's "Le Gibet" from Gaspard de la nuit, composed over 70 years later. Near the end, there is a very passionate and intense buildup that leads to quick short chords similar to the final part of Chopin's Ballade No. 4 in F minor right before the coda.

The first bar of the Transcendental Étude No. 6 Franz Liszt's Transcendental Étude No. 6 in G minor "Vision" is the sixth of his twelve Transcendental Études. It is a study of the extensions of the hand, hands moving in opposite directions, arpeggiated double notes, and tremolos. It is one of the easiest études out of Liszt's 12 Transcendental Études, though the beginning of the piece can be quite troublesome if it is played as directed: completely with the left hand (linked hand in the second edition [Dover]). It would require large stretches and dexterous leaps if done so.

Mabern's piano style was described as being "aggressive, very positive, crashing out chords that drop like pile drivers and warming up and down the keyboard with huge, whooping bursts of action", while, at the same time, he showed "a keen sensitivity" as "an extremely perceptive accompanist".Wilson, John S. (March 03, 1977) "Jazz: Quartet with Keen Pianist". The New York Times. p. 29. Critic Gary Giddins identified some of the characteristics of Mabern's playing as being "blues glisses, [...] tremolos and dissonant block chords", that help to create a style "that marries McCoy Tyner's clustering modality with rippling asides that stem from [Art] Tatum".

Singing and percussion are the most important aspects of traditional Native American music. Vocalization takes many forms, ranging from solo and choral song to responsorial, unison and multipart singing. Percussion, especially drums and rattles, are common accompaniment to keep the rhythm steady for the singers, who generally use their native language or non-lexical vocables (nonsense syllables). Traditional music usually begins with slow and steady beats that grow gradually faster and more emphatic, while various flourishes like drum and rattle tremolos, shouts and accented patterns add variety and signal changes in performance for singers and dancers.

Durational patterns typically include : # Small or moderate duration complement and range, with one duration (or pulse) predominating in the duration hierarchy, are heard as the basic unit throughout a composition. Exceptions are most frequently extremely long, such as pedal tones; or, if they are short, they generally occur as the rapidly alternating or transient components of trills, tremolos, or other ornaments. # Rhythmic units are based on metric or intrametric patterns, though specific contrametric or extrametric patterns are signatures of certain styles or composers. Triplets and other extrametric patterns are usually heard on levels higher than the basic durational unit or pulse.

In the June 7, 1903, St. Louis Globe-Democrat, contemporary composer Monroe H. Rosenfeld described "The Entertainer" as "the best and most euphonious" of Joplin's compositions to that point. "It is a jingling work of a very original character, embracing various strains of a retentive character which set the foot in spontaneous action and leave an indelible imprint on the tympanum". Suggested by the rag's dedication to "James Brown and his Mandolin Club", author Rudi Blesh wrote that "some of the melodies recall the pluckings and the fast tremolos of the little steel- stringed plectrum instruments".Rudi Blesh, p.

Phidylé is a mélodie by the French composer Henri Duparc, dedicated to his friend Ernest Chausson. It is a setting of a poem with the same title from Poèmes et poésies (1858) by the French Parnassian poet Leconte de Lisle. Duparc first completed a setting for high male voice and piano (1882), and then orchestrated it (1891-1892). The music, which shows the influence of Wagnerian voice leading and chromaticism, progressively rises from languid tranquillity to the singer's triumphant climax, accompanied by heavy chords and tremolos in the piano, before a solo postlude for the piano which gradually dies to a pianissimo finish.

Both are built on themes from the third group and accompanied by string and woodwind tremolos and trills. At the second climax, Scriabin introduces low bells and organ, and maintains a trumpet and percussion ostinato throughout. Scriabin wrote a poem over three hundred lines long to accompany the music, though not to be recited with it. The poem tracks the ascent of a spirit into consciousness, catalyzed by the recurring appearance of "trembling presentiments of dark rhythms" that later transform into "bright presentiments of shining rhythms" as the spirit realizes the excitement of the struggle against them, contrasted with the "boredom, melancholy, and emptiness" felt after victory over them.

The piece is composed of four distinct sections, with three main themes repeating throughout. The first section, labeled "Introduzione," is a dark and gloomy adagio movement whose opening bars evoke the sound of muffled bells from across a dreary battlefield. Its forlorn right-hand chords are offset by thundering, sforzando left-hand tremolos, which are interrupted and calmed into submission by the sudden call of battle trumpets, leading into the piece's next theme. In its second section, the piece presents a somber F-minor funeral march that modulates into a stunning lagrimoso A-major melody, relying heavily on augmented fifths to convey what can be viewed as a sort of dismal sense of hope.

Zilkens, op. cit. pp. 128, 130, 230 In Op. 109, reminiscences of the straightforward style of the early, Haydn-influenced sonatas contrast with harmony that is sometimes harsh, anticipating the music of the 20th century. This gives special importance to the principles of polyphonic variation, as in the second movement of Op. 109, and consequently the use of baroque forms, especially fugue and fugato. Very wide intervals between the outer voices, a process of breaking the music into ever shorter note values (as in the sixth variation in Op. 109), use of trills to resolve the music into layers of sound (the same variation in Op. 109 and again in Op. 111), arpeggios, ostinati and tremolos gain increased significance.

The piece lasts between fifteen and twenty minutes, and opens with a prelude suffused with misty echoes of Sino-Japanese imperial court music, in the form of a Chinese melody of the Tang Dynasty, "Music of Universal Peace". It is notated wholly without bar lines, so that its poetic "timelessness" is also literal. The traditional harmonies of the Japanese mouth-organ (shō) are quoted, and gagaku drums of different sizes evoked through various percussive effects (palm and fingernail taps and tremolos) on the wooden casing of the piano. A highly rhythmic toccata follows, polyphonically adapting within its pentatonic confines a kudyapi (boat lute) piece from the province of Maguindanao in Mindanao (the southernmost Philippine island group).

In percussion, three types of tremolos may be seen in sheet music; a tremolo with a single, double, or triple slash going through the stem: A single slash indicates a diddle, or two double strokes from a single hand, that subdivides the note in two. RR or LL A double slash indicates two diddles, or two double strokes from each hand, that subdivides the note in four. RRLL or LLRR A triple slash indicates four diddles, playing two double strokes twice from each hand, that subdivides the note into eight. RRLLRRLL or LLRRLLRR In a 4/4 time signature, a triple slash quarter note would entail playing double strokes for two eighth notes with a single slash each, or four sixteenth notes RRLL or LLRR.

In Winterreise Schubert raises the importance of the pianist to a role equal to that of the singer. In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen". The piano supplies rich effects in the nature imagery of the poems, the voices of the elements, the creatures and active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, the post horn calling, and the drone and repeated melody of the hurdy-gurdy.

Richard S. Ginell reviewed the album for Allmusic and wrote that the album "...finds Brubeck in a friskier mood than in his previous, somewhat autumnal Telarcs, even willing to take us back to the bombs-away block-chorded Brubeck of the '50s and '60s on "It's Deja-Vu All Over Again." As an improvising pianist, he continues to be on his toes, sometimes falling back upon patented devices like those wide-screen moving tremolos, yet always finding interesting paths to develop". Ginnell felt that "...very few of his themes or conceptions stay in the mind" with the exception of "Marian McPartland" and "Waltzing", concluding that "Though not his best, So What's New is ample testimony to Brubeck's vitality in his Indian summer".

The 1905 edition of Debussy's La mer Stylistically, many commentators have described The Oceanides as broadly impressionistic, in particular drawing comparisons with Debussy's La mer. Harold Johnson, for example, writes that the themes and orchestration of the piece, with muted string tremolos and harp glissandi, "bear more than a superficial resemblance" to Debussy's style (he further suggests that Sibelius may have feared his original title, , was "too close to Debussy"). Gray, who calls the orchestral technique in The Oceanides "strikingly different" from anything else in Sibelius's oeuvre, stresses that the work is far from "derivative". Rather, he argues that Sibelius builds upon and revolutionizes the French impressionist technique, making it "entirely his own, and not merely a reflection or distortion of Debussy".

At current performances, Whitford can be seen playing a wide array of solid-body guitars, some including Floyd Rose locking tremolos: Gretschs, several Floyd Rose Discovery Series guitars, a Shoreline Gold painted (Stratocaster style) Melancon Pro Artist, a Gibson Les Paul Goldtop along with a wide variety of Fender Stratocasters. Whitford continues to tour with vintage Fender Stratocasters and Gibson Les Pauls for Aerosmith concerts as well as smaller gigs. Meanwhile, Aerosmith's original heyday in the late 1970s saw both Whitford and co-guitarist Joe Perry arm themselves with aggressive-looking guitars from BC Rich (Whitford favored an unpainted BC Rich Eagle, while Perry often played an alien-looking red BC Rich Bich). On the amplifier front, Whitford has created his own amplifier company - 3 Monkeys Amplification and tours with many of their products.

The treatment of tempos also serves to govern the overall form. There are three types of tempo usage : # a single tempo is used for a long span of music, providing a sense of stability, stasis, or even tension # different independent tempos governing short gestures are juxtaposed within a single section # the tempo is made to accelerate or decelerate to underline the particular gestures The chordal opening soon dissolves into the turbulent "centre" of the piece, featuring tremolos and bursts of notes within a narrow registral span. There are also single notes and small clusters covering the piano's entire range. Concealed beneath this active surface of this section are repetitions and extensions of the chords from the beginning of the piece constituting a long repeated pitch sequence (containing internal recurring sequences).

Rock Band 4 now has the use of Freestyle Guitar Solos, an optional feature. If this feature is disabled, guitar solos in songs are presented as they were in previous Rock Band games with more of the same note-matching aspects in beat with the original song's solo; the player scores as they normally do as during regular song sections, with an added scoring bonus based on the percentage of the solo notes hit correctly. When this feature is enabled, instead of the predefined solo, the game shows suggestions for the solo style to emulate at that time, such as single notes or longer licks, chords, or tremolos, using different patterns to highlight the guitar player's on-screen track. The track markings also indicate which set of fret keys on the instrument control to use, which determine the pitch of the notes.

The measured tremolo, presumably played with rhythmic regularity, was invented to add dramatic intensity to string accompaniment and contrast with regular tenuto strokes. However, it was not till the time of Gluck that the real tremolo became an accepted method of tone production. Four other types of historical tremolos include the obsolete undulating tremolo, the bowed tremolo, the fingered tremolo (or slurred tremolo), and the bowed- and-fingered tremolo. The undulating tremolo was produced through the fingers of the right hand alternately exerting and relaxing pressure upon the bow to create a "very uncertain–undulating effect ... But it must be said that, unless violinists have wholly lost the art of this particular stroke, the result is disappointing and futile in the extreme," though it has been suggested that rather than as a legato stroke it was done as a series of jetés.

In composing the Trio, Ravel was aware of the compositional difficulties posed by the genre: how to reconcile the contrasting sonorities of the piano and the string instruments, and how to achieve balance between the three instrumental voices – in particular, how to make that of the cello stand out from the others, which are more easily heard. In tackling the former problem, Ravel adopted an orchestral approach to his writing: by making extensive use of the extreme ranges of each instrument, he created a texture of sound unusually rich for a chamber work. He employed coloristic effects such as trills, tremolos, harmonics, glissandos, and arpeggios, thus demanding a high level of technical proficiency from all three musicians. Meanwhile, to achieve clarity in texture and to secure instrumental balance, Ravel frequently spaced the violin and cello lines two octaves apart, with the right hand of the piano playing between them.

The symphony is scored for flute, two oboes, two bassoons, two horns and strings and is in the typical four movements: #Allegro spiritoso #Adagio #Menuetto #Finale: Presto The first movement opens with a theme in the cellos accompanied by tremolos in the strings evoking a strong sense of Sturm und Drang. After the second theme provides a brief respite in the relative major, the music becomes turbulent as it transitions again. What follows is a very striking expositional coda which is a light, dancing theme featuring Lombard rhythms and scored for solo flute and first violin against a pizzicato bass. The development begins with a quirky coda theme in the remote key of D flat major and then slowly works it up the scale until it reaches A major followed by another grand pause and then the theme is repeated again in the relative major of F major.

Billboard magazine reviewed the album in their March 14, 1960 issue and wrote that "Satchmo plays it soft and romantic on this listenable collection of standards...Prime jockey wax". Richard S. Ginell reviewed the reissue of the album for Allmusic and wrote that these "once-overlooked albums...are finally being appreciated as prime samplings from the autumn of Armstrong's recording career" and that "Even in the pressure cooker of a marathon session, even when confronted with standards not often associated with him, Armstrong finds the essence of each tune, bending and projecting them with his patented joie de vivre and gravel-voiced warmth every time". Ginell described Armstrong's trumpet playing as "pithy, soulful, [and] belonging to no one else" and praised arranger Russell Garcia's arrangements for big band or strings as "...among the most atmospheric ever accorded to Armstrong. In particular, "When Your Lover Is Gone" is sublime, with its signature riff of blasé, sighing horns and responding, rising string tremolos, and Garcia frames "Body and Soul" with a lovely string chart whose penultimate stroke is a perfectly placed blue note".

Moderator DJ Nihal introduces members of the Elysian Quartet (Laura Moody, cello, Vincent Sipprell, viola) before a performance on 23 August 2012, as part of the Birmingham Opera production of Mittwoch aus Licht at the Argyle Works, Digbeth, Birmingham A performance requires: four helicopters, each equipped with a pilot and sound technician, television transmitter and three-channel sound transmitter, and an auditorium with four columns of televisions and loudspeakers, a sound projectionist with mixing desk, and a moderator (optional), as well as the members of the string quartet. The piece focuses on Stockhausen's dreamed idea of a string quartet playing tremolos which blend so well with the timbres and the rhythms of the rotor blades that the helicopters sound like musical instruments. This is accomplished by using microphones placed so the helicopters may blend with the stringed instruments, with the instruments being heard as slightly louder than the blades. The piece is played as follows: A moderator, who may be the sound projectionist, introduces the quartet, and then explains the technical aspects of the piece.

Agreeing with this assessment of Pasveer's accomplishment, David Fallows added that "one of the important details of any live performance of Stockhausen has always been the sheer gorgeousness of the sound projection, making its impact right from the first moments of the magically lucid Wednesday Greeting". Anna Picard concluded in The Independent that it was an "unhurried, ecstatic promenade production" and that "Stockhausen's dream was realised wittily and lovingly". Rupert Christiansen gave the production 4 out of 5 stars in The Telegraph, but he dismissed its third scene Helicopter String Quartet which he felt was "a banal gimmick, wasting an obscene amount of money and fuel to generate only a hideous amount of pointless noise". Christiansen cited Stockhausen's "bonkers sense of humour" as "a saving grace" of the production. Nick Richardson, writing in the London Review of Books, disagreed about the Helicopter Quartet, describing it as "fantastic on Thursday night, particularly at take-off, the strings’ vigorous tremolos locking with the throb of the rotor blades and the warm, bass hum of engine".

Echos and reverb devices were soon added to the portfolio. By 1953, Schaller had begun manufacturing electronic guitar components such as pickups and switches for Fred Wilfer's guitar company Framus in Bubenreuth, Bavaria. A couple of years later, other German guitar manufacturers such as Höfner, Hopf and Hoyer also became customers. By the 1960s American guitar makers including Fender, Gibson, C. F. Martin and Ovation started to rely on Schaller products for their guitars and basses. Schaller M6 Machine Head At the same time Schaller extended its portfolio to tremolos (1961), bridges (1962) and machine heads (1966). The "M6" tuning machine made a mark as the world's first fully enclosed and self-locking precision tuner. In 1968 Schaller moved about 15 kilometres from Feucht to Postbauer-Heng into a new site. A new production facility was set up in order to meet the rising demand for Schaller products. The product portfolio was constantly expanded in the 1970s. The "M4" bass tuners, various bridges including the "TOM" bridges for Gibson guitars and numerous other variants of pickups ("Golden 50", "S6", "T6" etc.) were added.

The violin tremolos here and also in Mittwochs preceding scene, Orchester-Finalisten, invoke the sound of a buzzing mosquito, so "what the composer is also saying is that the mosquito is also a tiny helicopter", and the connection between the two is being made by the violin. Another is the way in which the scenic character of the Helicopter Quartet forms one of four "serial variants": The first and fourth scenes of the opera represent the idea of communication and cooperation, first when World Parliamentarians meet to debate the topic of love, and then when interplanetary delegates consider cosmic problems, while the second scene and this one revolve around the idea of community music making. A third serial principle is the integration of distinct elements into a whole. This was expressed by Stockhausen in a text written in 1953: In Licht generally this is seen in "scenic contexts that are not tied to a single, linear, teleological narrative, but as the compositional events in multi-dimensional, process- independent, run in folding, intersecting, or parallel layers and yet are held together by the principle of uniformity".