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However, exceptions include Balakirev's Islamey, where players are instructed to execute the glissando upwards across three octaves with their right hands in the Tempo di Trepak section. Due to the slight damage (and resultant pain) which octave glissandi may cause to the flesh of the fifth finger, they are infrequently used in the piano ...
Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), [1] lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), [2] plop, or falling hail (a glissando on a harp using the back of the fingernails). [3]
The violins play glissando, pizzicato, tremolo, and in double stops, and use particular effects such as col legno (striking the wood of the bow on the strings) and sul ponticello (bowing close to the bridge), in order to imitate the sounds of a cat, a dog, a hen, the lyre, clarino trumpet, military drum, Spanish guitar, etc. (Boyden 2001; Pyron ...
Both the 45 RPM single and the track on Manilow's hit collections are monaural, despite being labeled otherwise. The only source for this song in true stereo is the original Foul Play soundtrack, which is missing some elements of the single (a harp at 0:25 and orchestration beginning at 0:45, and a piano glissando at 2:18 is mixed way down).
prepared piano, i.e. introducing foreign objects into the workings of the piano to change the sound quality; string piano, i.e. hitting or plucking the strings directly or any other direct manipulation of the strings; sound icon, i.e. placing a piano on its side and bowing the strings with horsehair and other materials
Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale. [10] Frédéric Chopin. Prelude No. 19, mm. 43–44, in the bass, "while the melody moves down chromatically" [11] Alexander Dargomyzhsky. The Stone Guest, passage from act 3 [12] Peter Maxwell Davies
In guitar playing (apart from classical guitar) legato is used interchangeably as a label for both musical articulation and a particular application of technique—playing musical phrases using the fretting hand to play the notes—using techniques such as glissando, string bending, hammer-ons and pull-offs instead of picking to sound the notes ...