accompagnato造句

例句与造句

1. Vivid string accompaniment, as of wings in action, illuminates the accompagnato " And lo, the angel of the Lord came upon them " which is sung by the soprano.
2. Although the text " The people that walked in darkness " is taken from a different chapter of Isaiah ( ), Handel treats the aria as a continuation of the accompagnato by similar motifs.
3. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale.
4. In a restrained way, the death of the Messiah is told in another tenor accompagnato, as foretold by Isaiah, " He was cut off out of the land of the living " ( ).
5. He experiences a vision of his hated rival in the embrace of Proserpina, queen of the underworld, but then notices that Proserpina is crying and feels pity for her . ( Accompagnato : " Ah!
6. It's difficult to find accompagnato in a sentence. 用accompagnato造句挺难的
7. Apart from a difference in voice type, settings of Jesus'words in recitatives can be further differentiated from surrounding text settings by, for instance, giving them a more arioso character, or setting them accompagnato ( while the Evangelist and other characters sing secco ).
8. Sometimes a distinction is made between the more dramatic, expressive, or interjecting " orchestral recitative " ( " recitativo obbligato " or " stromentato " ) and a more passive and sustained " accompanied recitative " ( " recitativo accompagnato " ).
9. The three recitatives are scored differently, the first accompanied by chords of the strings, the second by continuo, the third as an accompagnato of two oboes da caccia which add a continuous expressive motive, interrupted only when the child's leaping in the womb ( in German : " " ) is mentioned which they illustrate.
10. The mostly syllabic "'recitativo secco "'( " dry ", accompanied only by continuo ) is at one end of a spectrum through "'recitativo accompagnato "'( using orchestra ), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music.
11. In stark contrast, the bass sings the continuation in an accompagnato " For behold, darkness shall cover the earth " ( ) on a background of the strings playing mysterious repeated seconds, until the text switches to " but the Lord shall arise " ( which the voice presents as a melisma of two measures ), followed by coloraturas on " glory " and an upward octave leap to proclaim in the end " and kings [ to the brightness of thy rising ] ".
12. The reception of the composition by Bach is of historic importance as it shows many of the characteristics Bach would adopt in his own famous passion settings : the vox Christi treatment ( with arioso, and accompagnato, the " halo effect " of the strings, . . . ), the typical Bach Evangelist, the recitative-aria-chorale units, chorales based on Paul Gerhardt's " O Haupt voll Blut und Wunden ", . . .  all characteristics deemed typical for Bach's oratorios and passion settings that are present in this early 18th century work.
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