Synonymer & Information om | Engelska ordet FORTISSIMO

Exempel på hur man kan använda FORTISSIMO i en mening

• The quiet introduction is thirty-eight bars long, and is followed by a fortissimo repetition of the chord of F, leading into the allegro vivace first subject of the main, sonata form part of the movement, described by Grove as "gaiety itself, and most original gaiety":.
• The symphony is characterized by its use of string and woodwind solos; the first movement opens with a long and discursive clarinet solo over a timpani roll; (this idea returns at the start of the fourth movement, fortissimo in the strings, with wind and brass chordal accompaniment), and subsequent movements include violin, viola, and cello solos.
• One contemporary usage, however, is that by Erik Satie in the third movement of Embryons desséchés (Desiccated Embryos), where the obbligato consists of around twenty F-major chords played at fortissimo (this is satirising Beethoven's symphonic style).
• Shortly before the recapitulation, the strings break into a homophonic fortissimo statement of rising quarter notes for eleven measures, marked pesante (measures 310–320), before the full orchestra joins in for the retransition into the recapitulation in D major.
• Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition.
• After a brief fortissimo introduction consisting of angry spurts of figuration in the clarinet punctuated by piano chords, the piano quiets to a murmur.
• The rondo begins with a pianissimo melody played with crossed hands that soon becomes fortissimo, over daringly fast scales in the left hand and a continuous trill on the dominant in the right, as described above.
• This exposition repeats, followed by a development mostly of the second half of the opening theme's first phrase, together with a version of the insistent descending fifth (F–B, F–B, F–B) that had accompanied the last part of the exposition, building to a peak of energy, in which the cello makes two-octave leaps bridged by acciaccaturas against fortissimo variants of the opening theme, after which another theme (the B minor theme, the first theme of the second group) is heard and varied at some length, and the music, after another surge, dies away into the quiet return of the opening theme.
• In the course of the Grosse Fuge, Beethoven plays this motif in every possible variation: fortissimo and pianissimo, in different rhythms, upside down and backwards.
• " The musicologist Michael Kennedy writes "One cannot call it a motto-theme, but it is an idée fixe, and after its first quiet statement, the full orchestra repeat it fortissimo.
• Because of the heavy gauge of the lowest course, some folk mandocello players remove one of the C strings to prevent rattling while playing fortissimo, or use lighter gauge strings so that the 2 C Strings don't rattle.
• The movement starts with a heavy-footed walking bass theme – directed to be played heavily (pesante) and fortissimo.
• In addition, the first note within a pair receives an attack of some sort—legato for piano and pianissimo, accent for mezzo forte and mezzo piano, and sforzando for forte and fortissimo.
• The fortissimo directions ff and even fff were often to be found in scores, and chromatic scales, tremolos, and intervals such as the diminished seventh heightened tension onstage.
• 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).
• The closing movement of this part, 'The Three Kings', is in fact a march on a grand scale which starts with a quiet but steady and springy tread and moves inexorably on to close fortissimo with the full orchestra.
• The dolce espressivo theme returns (mark 15), leading to an explosive reprise of the first theme's initial motive in fortissimo (mark 16), played con fuoco.
• The opening to the piece consists of two arpeggiated pianissimo chords, and after a moment's pause, goes into a set of fortissimo chords, before returning to the quiet arpeggiated chords.
• The meaning of this imperative is given as "lift up," equivalent to "loud" or "fortissimo," a direction to the accompanying musicians to break in at the place marked with crash of cymbals and blare of trumpets, the orchestra playing an interlude while the singers' voices were hushed.
• At the end of the introduction the orchestra plays five measures of a cadential six-four while raising a massive crescendo from piano to fortissimo, lands on a root-position dominant seventh chord, then drops out, leaving a solo timpani playing the tonic F at a pianissimo for two measures of alternating eighth notes and eighth rests, creating what Waterhouse calls “theatrical expectancy.

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