sul ponticello造句

• Since 2015 she collaborates with the Spanish magazine of music and sound art Sul Ponticello.
• They need to agree on special techniques, such as spiccato, sul tasto, sul ponticello, and so on.
• Some of these articulations can be combined; for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds.
• In contrast to its predecessor, the Fourth Quartet makes extensive use of coloristic instrumental effects, such as col legno, sul ponticello, and pizzicato glissando.
• The closer to the bridge the string is bowed, the more projecting and brighter the tone, with the extreme ( " sul ponticello " ) producing a metallic, shimmery sound.
• The second movement's predominantly fast tempo is also interrupted after eleven bars by a Lento section featuring double stops in all four instruments and sul ponticello tremolo effects in the two violins.
• Without any prompting save informed imagination and native chutzpah, the violinist plays sul tasto ( bowing over the fingerboard for ethereal effects ) and sul ponticello ( bowing close to the bridge for ghostly ones ).
• Durosoir shows great imagination in the area of musical texture and the use of extended performance techniques ( con sordino, sul ponticello, col legno, ricochet, harmonics ), and consequently expressive indications are encountered in each melodic line.
• In the variation following the " minore " episode, Haydn used the unusual " sul ponticello " marking instructing the violins to play with the bow near the bridge creating a " glassy " or " metallic " sound.
• Over the concluding chord in the horns, a short solo for the tenor leads to section C, spoken by the choir to an accompaniment of tremolo " sul ponticello " strings, playing simultaneously the retrograde and retrograde inversion of the basic series.
• Classical bass students learn all of the different bow articulations used by other string section players ( e . g ., violin and cello ), such as d閠ach? legato, staccato, martel?( " hammered "-style ), sul ponticello, sul tasto, tremolo, spiccato and sautill?
• The cello, besides the usual techniques ( ranging from sul tasto to sul ponticello, flautato and col legno ), uses " tap " : " martellato mano sinistra " ( martellato left hand : tapping the strings with the fingertips of the left hand.
• In the second movement sul ponticello plays a structural role and in the third the bell-like left-hand pizzicati . " The composer points out : " Writing for and performing on one's own instrument reminds one of an actor on stage delivering a soliloquy.
• For example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres ( e . g ., playing sul tasto produces a light, airy timbre, whereas playing sul ponticello produces a harsh, even an aggressive tone ).
• Playing close to the bridge ( " sul ponticello " ) gives a more intense sound than usual, emphasizing the higher harmonics; and playing with the bow over the end of the fingerboard ( " sul tasto " ) makes for a delicate, ethereal sound, emphasizing the fundamental frequency.
• After a slow introduction, the first movement falls into five main sections : a lyrical first section, a passage of fluctuating tempos featuring muted horn and " sul ponticello " violin, a slow section based on the unifying falling semitone, a horn cadenza, and a reprise of the first main section.
• String players control their tone quality by touching the bow to the strings at varying distances from the bridge, emphasizing the higher harmonics by playing sul ponticello ( " on the bridge " ), or reducing them, and emphasizing the fundamental frequency by playing sul tasto ( " on the fingerboard " ).
• The scoring is generally heavy, and Bart髃 employs many colorful techniques here, including chromatic scales, 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.