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Texture must be viewed as the interrelationship of sounds in a musical structure evaluated from both the vertical and horizontal perspectives, whereby the analytic concern is not only with the number of sounds heard simultaneously from instant to instant, but also with their horizontal connections.
In this context, the term "vertical" refers to the density (that is, the relative "opacity" or "transparency") of the structure measured at any given instant, as if the music were suddenly stopped and a vertical "cross section" taken.
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Examples of dense polyphony are especially frequent in the works of Penderečki. Luke Passion (1965), predominately conjunct melodic patterns in the strings are superimposed to create a dense texture in which individual lines are not clearly distinguishable (Example 9).
While many of his efforts in this direction involve the effect of massing (and will therefore be considered below), some works of Ives are transparent enough for the listener to perceive a clear counterpoint of contrasting musical streams.
Boulez Structures (c) 1955 by Universal Editions Vienna (c) renewed. Used by permission of European American Music Distributors Corporation, sole U. and Canadian agent for Universal Edition Rather than focussing on lines, or even necessarily on individual sounds, the listener perceives the overall global shape of the texture, and the condensations and rarefactions in density that it undergoes.
Here, isolated sound objects ‑ each of a different vocal and theatrical character ‑ are scattered sparsely over the time field.
Indeed, much music written since 1945 is quite beyond the grasp of standard analytical terminology, chiefly because so many of these works make exclusive use of textures and textural procedures that depart significantly from conventional practices.1) a definition of texture that would be expansive enough to cover recent textural phenomena; 2) a detailed analysis of basic types of new textures; 3) the development of an adequate terminology for them; 4) a consideration of how new textures have been employed in the overall compositional context.
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In both cases, the similar character of the lines, the frequent overlapping and uniform timbre all assist in creating perceptual fusion.