Simultaneously, two-tone colour schemes were also phased out from available options.
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Today the scarf is more the earth tone colour beige than grey.
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Denise Djokic (born 13 November 1980) is a cellist from Halifax, Nova Scotia. The Strad magazine has called her instantly recognizable for her "arrestingly beautiful tone colour".
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Musicality encompasses four main elements of rhythm, melody, harmony and tone colour. Dance students naturally respond to external stimuli with movement and are generally more sensitive to music.
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Any two of the digitised waveforms could be used by the two digital oscillators provided. A noise source could be added separately to add further timbre or tone colour.
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A piano symphony is a piece for solo piano in one or more movements. It is a symphonic genre by virtue of imitating orchestral tone colour, texture, and symphonic development.
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Some of the characteristic tone colour of her recordings is due to her use of a Bösendorfer Imperial Concert grand piano for at least some of them, including her Mendelssohn recordings. She died in August 1994 in Athens.
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Jean Philippe Rameau was famous for "the eloquence of [his] orchestral writing which was something entirely new... - with a feeling for colour [(i.e., tone colour or timbre)] that is altogether 'modern'."Pincherle, M. (1967, p.122) An Illustrated History of Music.
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In The Gramophone, Edward Greenfield wrote of Brymer's "distinctively refined tone-colour … breathtakingly expressive" in the slow movement.Greenfield, Edward. "Rachmaninov. Symphony No 2 in E minor", The Gramophone, April 1973, p. 121 In the classical chamber repertory, Brymer was associated with several groups.
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Crabby Joe's Tap & Grill is a Canadian restaurant chain operating in 35 locations in Ontario as of 2015. The restaurants are characterized by a "casual relaxed" theme, and natural brick, hardwoods, earth tone colour schemes, plasma TVs, classic art reproductions and a mix of booths and tables.
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However, no design features on the LF-A were directly derived from the 2000GT. The second LF-A concept and accompanying LF-A Roadster were also equipped with a retractable rear wing for improved handling at speed and a two-seat interior with a two-tone colour scheme.
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Zubin Mehta, Music Director of the Israel Philharmonic Orchestra, heard D'Or sing and invited him to perform as soloist in "Carmina Burana" by Carl Orff, performing in a series of concerts all over the country. Yediot Achronot reviewed his performance, writing: "David D’Or is a contra tenor with tone, colour and exceptional style well beyond other soloists".
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Her chapter was titled "Von der 'Königin der Nacht' zur 'Lulu')" (From the Queen of the Night to Lulu). She mentioned her vocal range of three octaves, and the flexibility demanded by composers not only for fast changes in pitch and tone colour, but also for sound other tone production such as whispering, talking and yelling.
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Original Panda cars were the same model of car bought by two adjacent forces - the one in black and the other in white. The doors were then swapped between vehicles giving all the two-tone colour scheme one way round or the other. Bonnets (hoods) could also be swapped. Not clear if boot (trunk) lids were swapped.
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Lateral scoring can be said to have occurred when a piece of music is set for one or more instruments from the original number of instruments. An example of this is if a piece of music set for flute and piano is re-scored for clarinet and piano. In this instance, the intervallic relationships remain the same, but the tone colour has changed.
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The interior virtually had no changes, but changes to the exterior included a switch to a power mast antenna, mudflaps on all models, and the addition of headlight washers on the P-type. All B-pillar and nose badges for cars sold in North America read "Celica Supra" and only the P-type was available in two-tone colour schemes.
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At the time, British players still used the traditional wooden flute, which was blown strongly and with no vibrato. Gilbert recognised that French players such as Marcel Moyse, who played on metal flutes, could produce a far wider range of tone-colour. In 1937 he took lessons from the French flautist René le Roy (and also from the violinist Carl Flesch).
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Alexander Scriabin's Prelude in E major, Op. 11, No. 9, is 36 bars long and takes almost a minute and a half to perform, being played at an Andantino pace. Despite its key, the left hand voice often plays C minor passages, while the right hand plays relatively consistently within the bounds of E major, giving the piece a unique tone colour.
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Charles Rosen (1971, p. 240) admires Mozart’s skill in orchestrating his piano concertos, particularly the Concerto in E flat major, K482, a work that introduced clarinets into the mix. “This concerto places the greatest musical reliance on tone colour, which is, indeed, almost always ravishing. One lovely example of its sonorities comes near the beginning.”Rosen, C. (1971, p240) The Classical Style.
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The simplicity of the sequence concentrates all our interest on tone-colour, and what follows – a series of woodwind solos – keeps it there. The orchestration throughout, in fact, has a greater variety than Mozart had wished or needed before, and fits the brilliance, charm, and grace of the first movement and the finale.”Rosen, C. (1971, p240) The Classical Style.
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Shaun Tan sets the mood of each scene with sepia-tone colour schemes, ranging from grayscale to bright gold. The illustrations are reminiscent of aged photos, and often feature realistic- looking humans in abstract and bizarre environments. The environments resemble a combination of futuristic and old-fashioned aesthetics. Tan's process was one that used real-life models to create a storyboard.
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According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour. Some recent designs by Van Doren, Bari, and Saxgourmet reflect the theory that the mass of metal over the shank of the mouthpiece, which contacts the neck cork, stabilizes the connection and enhances the integrity of the harmonic series.
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A tube that has a diameter 1/10 of its length yields a typical tone colour (see Timbre). An inner diameter range between 1/7 and 1/14 of the length L is acceptable. A narrow tube will sound "reedy", while a wide one will sound "flutey". A more exact method is to multiply the bore diameter by 0.82 and subtract this value from the tube length.
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The backup dancers create additional scenes and visuals by holding up two-tone colour squares. "Natural ni koishite", directed by Kodama Yuichi, features Perfume outside of a Natural Beauty Basic store singing and dancing to the music. The floor of the set is a moving sidewalk, which is used in the dance routines. Midway through, the girls retreat into the store, instantly emerging with arms full of shopping bags.
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The luthéal was, in Ravel's day, a new piano attachment (first patented in 1919) with several tone-colour registrations which could be engaged by pulling stops above the keyboard. One of these registrations had a cimbalom-like sound, which fitted well with the gypsy-esque idea of the composition. The original score of Tzigane included instructions for these register-changes during execution. The luthéal, however, did not achieve permanence.
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The interior trim was also finished in a two-tone colour scheme, and employed leather upholstery. The Swiss assembled cars were sold only in Switzerland: only ten are thought to survive. Perhaps of most significance to subsequent generations of Opel driver was the name of the Swiss assembled Rekord. It was badged as the "Opel Rekord Ascona", after the resort on the Ticinese north shore of Lake Maggiore.
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Sometimes wood is used, especially in old bāyāñs from the Punjab. Clay is also used, although not favored for durability; these are generally found in the North-East region of Bengal. The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses his hand's heel pressure to change the pitch and tone colour of each drum during a performance.
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Ferreira (n.d.) Ligeti's use of contrapuntal devices and tone colour proved a major influence. Zaidel-Rudolph also specialised in piano performance; her teachers included Goldie Zaidel, Philip Levy and Adolph Hallis in South Africa, and John Lill in London. Zaidel-Rudolph returned to South Africa and became the first woman in the country to obtain a Doctorate in Composition, in 1979 at the University of Pretoria under Stefans Grové.
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The violin produces louder notes with greater bow speed or more weight on the string. The two methods are not equivalent, because they produce different timbres; pressing down on the string tends to produce a harsher, more intense sound. One can also achieve a louder sound by placing the bow closer to the bridge. The sounding point where the bow intersects the string also influences timbre (or "tone colour").
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The piece begins with a gentle left hand melody in C minor accompanied by distinctly major right hand block chords. The frequent major ninths and major sevenths contribute luxurious tone colour of the piece. In the eighth bar, a chromatic scale rises back up to the C to repeat the first four bars of the initial melody. This time, a triplet with a dotted rhythm is employed as an additional counterpoint in the right hand.
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A choice of single or duo- tone colour schemes was offered. Wolseley 6/99s with left hand drive shipped to Canada used the 4-speed floor mounted shift with overdrive identical to that in the Austin-Healey 100/6 and 3000. The Motor magazine tested a 6/99 with overdrive in 1959 and recorded a top speed of and acceleration from 0– in 14.4 seconds. A "touring" fuel consumption of was recorded.
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Although built for flying clubs rather than for individual air cruising, the Australian Moths were the DH.60 L "Luxury" version and were delivered with their fuselages sporting the L's characteristic two-tone colour scheme rather than the fuselage entirely painted in the club colour as was customary in British flying clubs. Other manufacturers were Morane-Saulnier in France (40 built) and a company called Moth Aircraft Co. in the U.S. (18 built).
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Coughlan described her style "[p]erforming from memory, she brought a fluid, organic approach to the musical structures, crafting the repetitive note patterns into elegant phrases that subverted the music's mechanical drive. With excellent control of tone colour, she played with warmth, brilliance and delicacy". On 6 September 2013 Whitwell issued her third solo album, All Imperfect Things: The Piano Music of Michael Nyman, which was engineered and produced by Virginia Read.
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This also allows a musical work to be played in smaller communities where the required instruments may not always be available. One of the main tenets of elastic scoring is that the new arrangement preserve as much as possible the original interval relationship (to the closest octave) between notes while not being overly concerned with timbre (tone colour) or number of instruments. Timbre is the aspect of music varied most through changing instrument or number of instruments.
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A Sorrowful Tale proves Karłowicz's interest in the expressionist aesthetic, as its main idea is to express directly subjective emotions, for what "instrumental pyrotechnics" and really drastic effects are used. The contrasts of the tone-colour are extreme, the idiom is tonally indeterminate and markedly dissonant. The music of this tone poem is a world of fears and psychological torments. The themes are hardly ones in the classical meaning, while the entire form represents a consistent development and evolution.
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Kyriakou followed a dual career as pianist and composer. Her recorded legacy includes the complete piano music of Emmanuel Chabrier, whose works she played with idiomatic flair, and recitals of works by John Field, Joseph Haydn, Enrique Granados and Isaac Albéniz. She recorded a major survey of the piano music of Felix Mendelssohn. Her sound, both in recordings and in concert, was characterised by a wide palette of tone colour, as might be expected of a Philipp pupil.
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The bassoon is a woodwind instrument in the double reed family that plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band, and chamber music literature. It is known for its distinctive tone colour, wide range, variety of character, and agility. The modern bassoon exists in two forms; Buffet (or French) and Heckel (or German) systems.
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The Thayer Valve uses a conical plug, allowing a deflection of the airflow by only 25 degrees or less. This also lets a smoother wrap of the F attachment's tubing (open wrap) become far more efficient. As a result, the response and tone colour are nearly unchanged from those of the open instrument, even for twin-valve bass trombones using the in- line configuration. Some trombonists even describe instruments whose response they experienced to be "more free-blowing" with the valves engaged.
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One of the most popular and standardized groupings in classical chamber music, the string quartet, is composed entirely of instruments from the violin family: two violins, one viola and one cello. This similarity in the manner of sound production allows string quartets to blend their tone colour and timbre more easily than less homogeneous groups. This is particularly notable in comparison to the standard wind quintet, which, although composed entirely of wind instruments, includes four fundamentally different ways of producing musical pitch.
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In 2011 Russell Grant claimed to have designed the badge in a BBC interview, however it was in fact designed in 1993 for two season tickets by supporter Andrew Henning, following a request from Keith Loring the then chief executive. In 2017, the club redesigned its crest to a more modern, uncluttered, design with the flexibility for use in two tone colour print. The design is a double roundel with the club name and year founded in white on a red background and a large central bee.
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As well, its keys could sense channel-pressure aftertouch as well. Aftertouch is the placing of pressure on keys after the initial striking or pressing of the keys. On a digital keyboard with aftertouch sensitivity, when the performer continues to press the keys, the aftertouch sensors send a message to the synth module; depending on the programming of the synth patch and/or the settings selected by the performer, aftertouch can trigger a digital effect (e.g., vibrato) or a change in the timbre (tone colour).
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Ad hoc clothespin mute and a rubber practice mute Attaching a small metal, rubber, leather, or wooden device called a mute, or sordino, to the bridge of the violin gives a softer, more mellow tone, with fewer audible overtones; the sound of an entire orchestral string section playing with mutes has a hushed quality. The mute changes both the loudness and the timbre ("tone colour") of a violin. The conventional Italian markings for mute usage are con sord., or con sordino, meaning 'with mute'; and senza sord.
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At the rear, it sports a louvered clear engine cover made from lightweight Lexan which pays homage to the F40 and a wrap-around rear spoiler inspired by the 308 GTB, with additional air intakes on either side. Interior The interior has received updates as well: the dashboard, instrument housing, and door panels are new. The two-tone colour scheme seen on the 488 has also been replaced. An 8.5 inch passenger touchscreen display is also standard as a part of the HMI (Human Machine Interface).
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The styling of the Series I Rapier was undertaken by the design firm of Raymond Loewy Associates and showed a great deal of influence of Raymond Loewy's 1953 Studebaker Starliner and subsequent Hawk (itself an acclaimed design). Announced in October 1955New Car Models. The Times, Thursday, Oct 13, 1955; pg. 4; Issue 53350 for the Motor Show and available in a range of two-tone colour schemes typical of the period, it had a steering column gear change, leather trim and a Laycock de Normanville overdrive as standard fittings.
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"coach" door The exterior resembles that of the 100EX. The 2-door 4-seat convertible has rearward opening coach doors and a two-tone colour scheme that distinguishes between the upper and lower bodywork and frames the teak wood panelling of the convertible's tonneau cover. However, it eschews the EX's aluminium bonnet in favour of more easily maintained stainless steel. The front fascia resembles that of the 100EX but its middle bodywork/raised bonnet/grille assemblage stops midway down rather than continuing downwards and bisecting the front bumper.
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Developers repeatedly considered simply cutting her due to the hassle in making her "work". Great work was put into her artificial intelligence, with the developers believing there had been no real great A.I. companion in video games since Half-Life 2s Alyx Vance. The character has hyper-realistic expressions to help players see her from across the battlefield, as well as a two-tone colour scheme and unique silhouette. Elizabeth was heavily featured in news and media prior to the release of the game, and plastic figures of her have been made.
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The style of the Rekord P2 followed the fashion trends of the time, being less ornate than its predecessor, and in consequence being perceived as "less American looking". The front grille was wider and the tail fins almost completely disappeared, although the embellishment of body creases around the rear lights was curiously elaborate. The panoramic screen was gone which made it possible for the front doors to be wider, facilitating easier entry for the driver and passengers. As on the previous model, customers could specify two-tone colour schemes both for the exterior paint work and for the interior trim.
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Weldon began his career at Brisbane's Truth newspaper as a half-tone colour etcher in the process engraving department. It was there he was taught by his first boss, Horrie Hogarth, two guiding principles, "never compromise on quality; and, allow workers now and then to spend time with the boss." Despite the brevity of his tenure at Truth, Hogarth had an indelible impact on Weldon during these formative years. Shortly thereafter, driven by his enduring fascination for all things maritime, he joined the Royal Australian Naval Reserve, a decision that was to have a major effect in charting the course of his life.
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By omitting the root and fifth, this gives the improvising chord-playing musician the option to play other notes. In voicing jazz chords, performers focus first on the seventh and the major or minor third of the chord, with the latter indicating the chord quality, along with added chord extensions (e.g., ninths, elevenths, or thirteenths, even if not indicated in the lead sheet or fake book) to add tone "colour" to the chord. As such, a jazz guitarist or jazz piano player might "voice" a printed G chord with the notes "B-E-F-A", which would be the third, sixth (a.k.a.
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The Prefect 107E utilized a reworked 100E body with the then-new overhead valve engine, four-speed gearbox and 'banjo' style rear end from the Anglia 105E, produced to offer a four-door model until replaced by the Ford Consul Classic. 38,154 were made, most of them in a two-tone colour scheme and deluxe trim. Versions assembled in New Zealand had a rare 'factory fitted' heater (dealer fit was almost universal at the time) and plush carpet. Drum brakes of diameter were fitted, hydraulically operated, and the suspension was independent at the front using MacPherson struts.
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1962) and George Condo (b. 1957), for example, where the focus is upon portraiture and stereotypes, much like Thrift Store Paintings, but provides a more directed mix of technical virtuosity with vulgarity, caricature with idealism, stylisation with realism. Such work is sometimes associatedBadura-Triska, Eva, et al, Bad Painting – good art , exhibition catalogue, Museum Moderner Kunst, Vienna, 2008, with "bad" painting, for degrading or conflating traditional iconography, but the difference lies in a narrowed scope for these later artists. Fewer "bad" elements are managed within a more obvious structure, are "bad" perhaps in anatomy or drawing, but "good" in volume or tone, colour or composition.
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In the duet for soprano and alto, "" (When cares press upon me), in "bright E major", as the Bach scholar Christoph Wolff writes, the voices are embedded in a "dense quartet texture". He concludes that the movement "banishes human care by means of joyful singing". The Bach scholar Klaus Hofmann notes that the obbligato motif, which is later picked up by the voices, is played by the oboes d'amore and violin in unison, providing "a new and remarkable tone colour". Bach refers to the Cross, as mentioned in the text, by using a cross- motif in the melody and applying double sharp marked by a cross.
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Bass trumpets in E are usually played by trumpeters as the mouthpiece is closer in size to that of the standard B trumpet. Duncan Wilson playing rotary bass trumpet in C with the BBC Symphony Orchestra Wagner wrote adventurously for his new addition to the brass section, exploiting open and muted effects, and extremes of range and dynamics. The bass trumpet is frequently featured in Der Ring des Nibelungen, playing solos in every register, as well as playing in octaves, unison or harmony with trumpets, trombones, and Wagner tubas. Its very distinctive timbre is easily identifiable and Wagner used this new and unique tone colour extensively.
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The distinctive sound of the amplified electric guitar was the centerpiece of new genres of music such as blues rock and jazz-rock fusion. The sonic power of the loudly amplified, highly distorted electric guitar was to key element of the early heavy metal music, with the distorted guitar being used in lead guitar roles, and with power chords as a rhythm guitar. The ongoing use of electronic amplification and effects units in string instruments, ranging from traditional instruments like the violin to the new electric guitar, added variety to contemporary classical music performances, and enabled experimentation in the dynamic and timbre (tone colour) range of orchestras, bands, and solo performances.
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Herman Klein, describing the London musical scene circa 1900, noted the absence of leading English-born contralto singers, apart from the three notable exceptions of Clara Butt, Marie Brema and Kirkby Lunn. Of Marie Brema he wrote that she was more correctly a mezzo-soprano, distinguished by 'her admirable command of tone-colour, her faultless diction, and her infinitely varied shades of impassioned poetic expression.'Klein, Thirty Years of Musical Life, p. 467. Brema appeared opposite David Bispham again in the premiere of Stanford's opera Much Ado About Nothing, as Beatrice to his Benedick, in a cast also including John Coates, Suzanne Adams and Pol Plançon.
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Grisey's music is often considered to belong to the genre of spectral music, which he is credited with founding along with fellow composer Tristan Murail, although he later disowned the label in interviews and writings. According to Tom , "His achievement has often been reduced to yet another of new music's fetishistic labels, "spectralism" – a category that Grisey had rejected by the end of his life." Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise. In addition, he was fascinated by musical processes which unfold slowly, and he made musical time a major element of many of his pieces.
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Formula One World Champion Mike Hawthorn became associated with the marque towards the end of 1958, flagging away two Nobels amongst a host of other bubble cars at a promotional event in September, before appearing on the Nobel stand at the Paris Motor show the following month. At the show, it was announced that Hawthorn had accepted the role of Technical Director for York Noble industries. “Call me the outfit’s tea-boy” was his jovial riposte to the press. Two Nobel saloons were on display at the Paris show, both differed from later production cars, with different side trim and a different two-tone colour scheme.
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Only one minor revision was made after the original version was unveiled: while the G and O used to touch each other, a gap now exists with a bolder white T to enhance them. The primary corporate colour was known as "GO Green", matched the green on Ontario Highway signs, and was used on all vehicles, signage, and printed material. In 2013, GO introduced a two-tone colour scheme that changed the primary colour to a darker green, and added a second lighter apple green. The changes were made to better harmonize with the branding of Metrolinx and its other operating divisions, as well as to improve its display digitally.
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With its bright two-tone colour scheme and a style befitting more expensive cars of the time, together with its low cost (£175), the Swallow proved popular and was followed in 1928 by a saloon version: the Austin Seven Swallow Saloon. Approximately 3,500 bodies of various styles were produced up until 1932, when Lyons started making complete cars under the SS brand. Such was the demand for the Austin Seven Swallows that Lyons was forced to move in 1928 from Blackpool to new premises in Coventry. It was, in part, the success of the Swallows that laid the foundations of what was to become, by 1945, Jaguar Cars.
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For the mounting of special bodies the 400E was available in chassis only, chassis/scuttle, and chassis/cab form. Within a short while a 12-seater variation of the estate car appeared, this time with longitudinal seats and a fixed step to the rear. In contemporary literature this model was called a '12 seater bus', and the previous transverse seat model was not shown, although it was still listed in the price schedule. In early catalogues of the range a de luxe version of the 15 cwt estate car was shown complete with chrome overriders to the front bumpers, chrome exterior mouldings, chrome window trims and a two tone colour scheme.
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The interior of the Premium variant The BH Persona shares the vast majority of its interior panels with the Iriz. The centre console, dashboard, steering wheel, door cards and transmission tunnel were carried over unchanged. However, Proton did introduce several minor additions and cosmetic changes, the most prominent of which being the dual-tone colour scheme, a contrast from the all- black interior of the Iriz. The lower-half of the dashboard, transmission tunnel, handbrake, cup holders, pillars and inner sections of the door cards are finished in a light grey or beige colour, while the top-half of the dashboard and outer frame of the door cards are in matte black.
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His 1844 patent for what he called a concertina also featured the ability to easily tune the reeds from the outside with a simple tool. The first pages in Adolph Müller's accordion book The musician Adolph Müller described a great variety of instruments in his 1833 book Schule für Accordion. At the time, Vienna and London had a close musical relationship, with musicians often performing in both cities in the same year, so it is possible that Wheatstone was aware of this type of instrument and may have used them to put his key- arrangement ideas into practice. Jeune's flutina resembles Wheatstone's concertina in internal construction and tone colour, but it appears to complement Demian's accordion functionally.
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Rootes introduced a new 1390 cc overhead valve motor with the Hillman Mk VIII, and this was also used in the Isuzu built PH12. The PH10 to PH12 models were very much sold as Hillmans. The contemporary marketing brochures appear to be Japanese language versions of English ones; the illustrations are of people who are clearly western rather than Japanese in appearance, and terms like ‘Gay Look’ (for two tone colour schemes) were carried over from UK marketing. From contemporary advertising brochures it seems that (at least for the PH11 and 12 models) four body styles were available: a four-door sedan, two-door convertible, the two-door Californian coupé and a two-door estate.
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There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the Trio. The Trio follows the pattern of March No. 1, with the melody (in the subdominant key of C) played by clarinet, horn and violins. The violins start the Trio tune on the lowest note they can play, an "open" G-string, which gives a recognisable "twang" to this one note, and they are directed to play the passage "sul G"sul G = on the G-string on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons.
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Cromie gave the interior up-to- date features such as inlaid lighting and underfloor heating, and themes such as two-tone colour schemes and wooden fixtures are found throughout. The ground floor has extensive areas of tiling in contrasting colours; most light fittings are partly of wood, and some have multiple branches; the doors are panelled with two-tone wood; some walls have hardwood panels; and pargeting, fluting and decorative mouldings are also visible. The staircase has an ornate chandelier, but its main point of interest is the unusual design of the balusters: a series of right-angled stepped blocks linked by four concentric quarter-circles of bronze. There are other bronze fixtures as well, and some marblework on the ground floor.
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Many early rock music drummers, such as Ringo Starr, used a secondary ride cymbal with rivets, normally a ride cymbal thinner than the main ride and ideally one size larger. This was used for variety, to back a lead break or to give extra tone colour to the whole of faster songs such as "Roll Over Beethoven". Many other rivet patterns have been tried, but the only one to have gained much following is a single cluster of two or three rivets close together in an arc close and parallel to the rim. This gained popularity in some genres during the late 1980s and early 1990s and was predicted to replace the traditional pattern, but the traditional pattern has remained more popular overall.
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Mozart would sometimes switch his focus between operas and instrumental music. He produced operas in each of the prevailing styles: opera buffa, such as The Marriage of Figaro, Don Giovanni, and Così fan tutte; opera seria, such as Idomeneo; and Singspiel, of which Die Zauberflöte is the most famous example by any composer. In his later operas, he employed subtle changes in instrumentation, orchestral texture, and tone colour, for emotional depth and to mark dramatic shifts. Here his advances in opera and instrumental composing interacted: his increasingly sophisticated use of the orchestra in the symphonies and concertos influenced his operatic orchestration, and his developing subtlety in using the orchestra to psychological effect in his operas was in turn reflected in his later non-operatic compositions.
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"Serafin, Tullio, "A triptych of Singers," Opera Annual, No. 8, 1962 Callas possessed an innate architectural sense of line-proportion and an uncanny feel for timing and for what one of her colleagues described as "a sense of the rhythm within the rhythm". Regarding Callas's technical prowess, Celletti says, "We must not forget that she could tackle the whole gamut of ornamentation: staccato, trills, half-trills, gruppetti, scales, etc." D'Amico adds, "The essential virtue of Callas's technique consists of supreme mastery of an extraordinarily rich range of tone colour (that is, the fusion of dynamic range and timbre). And such mastery means total freedom of choice in its use: not being a slave to one's abilities, but rather, being able to use them at will as a means to an end.
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Because there are tonal chord progressions that use all twelve notes, it is possible to create pitch rows with very strong tonal implications, and even to write tonal music using twelve-tone technique. Most tone rows contain subsets that can imply a pitch center; a composer can create music centered on one or more of the row's constituent pitches by emphasizing or avoiding these subsets, respectively, as well as through other, more complex compositional devices (; ). To serialize other elements of music, a system quantifying an identifiable element must be created or defined (this is called "parametrization", after the term in mathematics). For example, if duration is serialized, a set of durations must be specified; if tone colour (timbre) is serialized, a set of separate tone colours must be identified; and so on.
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Lead sheets and fake books often do not detail how to voice the chord because a lead sheet or fake book is only intended to provide basic guide to the harmony. An experienced "comping" performer playing electric guitar or piano may add or remove notes as chosen according to the style and desired sound of that musician, but must do so in a way that still emphasizes the correct musical context for other musicians and listeners. In voicing jazz chords while in a group setting, performers focus first on the seventh and the major or minor third of the chord, with the latter indicating the chord quality, along with added chord extensions (e.g., ninths, elevenths, or thirteenths, even if not indicated in the lead sheet or fake book) to add tone "colour" to the chord.
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French piano players of Haas's generation were moving away from the facile and often brittle technique associated with Marguerite Long (frequently referred to as the "diggy-diggy-dee" style).Fourestier. See, for example, Jean-Philippe Collard in Gramophone Magazine 1997 Haas combined the cleanness and precision associated with the older school with a warmth of tone colour that reflected the influence of Alfred Cortot. Her unsentimental readings, especially of Debussy and Ravel, give a different view of their music, presenting them as both modern and as inheritors of the tradition of Couperin and the clavecinistes of the 18th century. Contrasts can be found between her two recordings of the Ravel Concerto in G. The earlier one, made in 1948, makes much of the work's connections with the jazz idiom of the 1920s.
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Arranged by Glenn Miller, the instrumental featured Mannie Klein on trumpet, Hal McIntyre on clarinet, and George T. Simon on drums. The 78 release on Vocalion in the UK, S-127, B-21236-1, was reviewed in the February, 1938 issue of the British classical music magazine Gramophone: > Many of you will remember Glenn Miller as one of the chief arrangers for the > Dorsey Brothers when they ran a joint orchestra, and Red Nichols in the days > of the Five Pennies. He is also of course one of the best trombone players > of the old jazz school. > One of Miller's pet devices was to bestow a rich warmth of tone colour on a > simple melody by scoring it in close harmony for instruments playing in the > lower register, with comparatively little deviation from the original theme > or intricate weaving of counter melodic effects.
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Virgo, in his statements, in fact says that even though it "isn't music that tends to rear its head in a lot of popular music", the Klangfarbenmelodie (tone-colour-melody) approach to melody pioneered by the Second Viennese School was comparable to a style of popular music production "where there are so many things going on at once but the overall sound doesn't seem complicated" — which Virgo credits Phil Spector for originating; Nicholson makes the reasonable connection that this is referring to the Wall of Sound. The Spanish radio program Viaje a los Sueños Polares (on Los 40 Principales) awarded the album Best International LP in its 1997 staff poll. BBC broadcaster Mark Radcliffe listed Formica Blues among his top three albums of 1997, calling it "Atmospheric soundtracks for films that haven't been made yet" (prior to the 1998 release of Great Expectations).
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He was a horn player and for 12 years, from 1949 to 1961, he was principal Horn in Barbirolli's Hallé. Although he did not have a big tone, he had a natural feeling for tone colour and was unfailingly accurate, one rarely heard a 'fluff' in any of his orchestral solos. He had ambitions to be a conductor and was assisted by the patronage of ICI (Blackley), which invited him to conduct the works orchestra and, in May 1960, sponsored a Hallé concert in Manchester at which he conducted Berlioz’s Symphony Fantastique. He was also helped by Barbirolli, who invited him to conduct some Hallé industrial concerts. By 1962 he was sufficiently launched to be given charge of the first Hallé performance of Orff’s Carmina Burana. Soon he was conducting works of the size of Strauss’s Also sprach Zarathustra and Shostakovich's 12th symphony.
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It is a limited (5500 units) version for all model variants of the A-Class vehicles. It includes BlueEfficiency package, black radiator louvres, 16-inch titanium silver light-alloy wheels in a new 9-spoke design (tyre size 195/55 R16), a "Special Edition" badge on the mirror triangle, two- tone colour scheme in black and grey, Audio 20 radio with CD player and Bluetooth hands-free system and the Light and Sight package with a rain sensor, automatically dimming rear-view mirror, an illuminated vanity mirror in the sun visor, separately adjustable reading lights in the rear, a reading light for the driver and illuminated front foot wells, Seating Comfort package (height-adjustable front passenger seat, seat cushion angle adjustment and lumbar supports for the driver and front passenger). Standard exterior features also include fog lamps and a free choice of metallic paint finish.
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One of the other simple changes that were made between the CA generation and the SR generation was the switch to a single colour paint job, instead of the two-tone colour sets that were previously offered. On top of this, the SR motor later debuted another variant of the platform known simply as the "blacktop". Identifiable by its black and silver rocker-cover (as opposed to the traditional red/silver cover), it featured a number of minor changes, resulting in a little performance gain. It is vastly different from the more powerful "notch top" used in the S14 and S15 variants. In the U.S. the S13 was replaced after the 1994 model year by the new S14 design but lived on until 1998 in Japan with a major facelift, the 180SX Aero (Type X). This was the "Kouki" generation, while the previous (or 'middle') generation was referred to as "Chuki".
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When engaged, a rotary valve deflects the air flow through the instrument at least four times, and at least twice at rather sharp angles, leading to a stuffy response and audible tone colour changes, compared to the "open" instrument. These drawbacks are especially severe with the trombone, because the instrument's characteristic timbre is a direct result of its construction, which is mostly completely straight: Apart from any possible valve tubing, there are only two bends, and the bore is almost completely cylindrical. In contrast, the softer sound of "horn-like" brass instruments, so readily distinguishable from that of the trombone, is at least partially a result of their more or less conical bore and their intricate construction with many bows and bends. The change in timbre and response was made even more severe by the traditional wrap of the valve tubing in narrow curves between bell and gooseneck that was the norm until the 1980s.
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As all harmonics are periodic at the fundamental frequency, the sum of harmonics is also periodic at that frequency. For example, if the fundamental frequency is 50 Hz, a common AC power supply frequency, the frequencies of the first three higher harmonics are 100 Hz (2nd harmonic), 150 Hz (3rd harmonic), 200 Hz (4th harmonic) and any addition of waves with these frequencies is periodic at 50 Hz. In music, harmonics are used on string instruments and wind instruments as a way of producing sound on the instrument, particularly to play higher notes and, with strings, obtain notes that have a unique sound quality or "tone colour". On strings, harmonics that are bowed have a "glassy", pure tone. On stringed instruments, harmonics are played by touching (but not fully pressing down the string) at an exact point on the string while sounding the string (plucking, bowing, etc.); this allows the harmonic to sound, a pitch which is always higher than the fundamental frequency of the string.
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