Timbres

Hence, using tempered timbres, one can achieve a degree of consonance, in any tempered tuning, that is comparable to the consonance achieved by the combination of just intonation tuning and harmonic timbres.

Dudamel used Ravel’s exquisite interplay of instrumental timbres to enliven the moods of “Rapsodie Espagnole,” which opened the concert.

Just so many great artists and all of their sounds and timbres and textures and phrasing and improvisation was completely different than the other.

The first four Mutable Instruments modules were designed simultaneously, with Braids, a “macro-oscillator” that digitally modelled a vast range of synth voices and timbres, proving to be the most popular.

The music radiates bouncy, psychedelic indie pop with thumping bass lines, cosmic electronic timbres, and dreamy vocal melodies.

Contemporary composers often obtained unusual sounds or instrumental timbres through the use of non-traditional (or unconventional) instruments or playing techniques.

Her compositions blend the timbres of World Music with her native Japanese culture.

In Japanese shakuhachi music, for example, glissandos and timbres are often more significant than distinct pitches, whereas taiko notation focuses on discrete strokes.

Open-ended flutes such as the concert flute and the recorder have more harmonics, and thus more flexibility for the player, and brighter timbres.

Rather than sampling or synthesizing acoustic sounds to electronically replicate them, these composers tend to mutate the original timbres, sometimes to an unrecognizable state.

Shostakovich admitted Rimsky-Korsakov's orchestration was more colorful than his own and used brighter timbres.

The farther the tuning gets away from quarter-comma meantone, however, the less related citation the tuning is to harmonic timbres, which can be overcome by tempering the timbre to match the tuning.

The string can be plucked at any point between the bridge and the point where the fretting hand is holding down the string; different timbres are produced depending on where along the string it is plucked.

The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound.

The use of dynamic timbres lets consonance be maintained (or otherwise manipulated ) across such tuning bends.

Timbres Durées by Olivier Messiaen with the technical assistance of Pierre Henry was the first work composed for this tape recorder in 1952.

To Shostakovich, Mussorgsky was successful with solo instrumental timbres in soft passages but did not fare as well with louder moments for the whole orchestra.