artificial harmonics造句
例句与造句
- Artificial harmonics are more difficult to produce than the natural harmonics described above.
- Natural and artificial harmonics are used a great deal in virtuoso concertos for the double bass.
- The first movement ends with a scale in artificial harmonics, like the scale in the coda.
- The guitar solos are very fiery, making use of artificial harmonics, sweep picking, tapping and wild bends.
- Elaborate passages in artificial harmonics can be found in virtuoso violin literature, especially of the 19th and early 20th centuries.
- It's difficult to find artificial harmonics in a sentence. 用artificial harmonics造句挺难的
- This is often combined with natural and artificial harmonics, to make a " screaming " or " squealing " sound.
- Artificial harmonics are more difficult to produce than natural harmonics, as they involve both stopping the string and playing a harmonic on the stopped note.
- The upper range a virtuoso solo player can achieve using natural and artificial harmonics is hard to define, as it depends on the skill of the particular player.
- Although harmonics are most often used on open strings, occasionally a score will call for an artificial harmonic, produced by playing an overtone on a stopped string.
- Guitarist Greg Kubacki's playing style uses a lot of descending pick scrapes, artificial harmonics, ascending Digitech Whammy pedal sweeps, pitch shifting and ring modulation.
- Reffett is also known for his use of wide vibrato string bending, fretboard tapping, legato articulation, whammy bar dive bombs, artificial harmonics, and chromatic passing tones.
- Both natural harmonics and artificial harmonics, where the thumb stops the note and the octave or other harmonic is activated by lightly touching the string at the relative node point, extend the instrument's range considerably.
- To produce an "'artificial harmonic "', a stringed instrument player holds down a note on the neck with one finger of the bows the side of the string that is closer to the bridge.
- The Solo Sonata presents violinists with many difficulties and uses the full gamut of violin techniques : several notes played simultaneously ( multiple stops ), artificial harmonics, left-hand pizzicato executed simultaneously with a melody played with the bow, and wide leaps between pitches.
- Both main elements of the first movement, its sombre, restless first subject, and its lyrical pendant ( begun by a solo chromatic glissandi, double stops, arpeggios, sixths, octaves, thirds, chromatic scales, and artificial harmonics, not to mention a myriad of bowing techniques.
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