We were like properly tonguing and making out as well.
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Two old bearded men in tall hats throat tonguing each other.
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A skinny woman was eating a cupcake and talking on her phone, tonguing the icing as if she were on ecstasy.
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The responses poured in: People posted pictures and videos tonguing salt lamps, and tagged friends who had presumably shared thoughts of, well, loving lamp.
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Immediately following that jumpsuit scene is one in which Dylan distracts a driver by literally tonguing his steering wheel so he won't notice that Alex is in back bugging the vehicle.
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When things really get moving, as on the hotfooted "My Queen Is Harriet Tubman" or the steady climb of "My Queen Is Yaa Asantewaa," Mr. Hutchings is liable to throw in his lot with the drummers, tonguing his reed to make a percussive, flaring effect that's a bit like a rimshot on a hand drum, or the air-horn effect of a West Indian D.J. This is one of many personal gestures Mr. Hutchings uses that don't have a lot to do with the broader lexicon of the jazz saxophone.
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This triple tonguing method is most likely the fastest if done correctly. The reason for this is that the tee and kee never repeat itself. Earl D. Irons is the author of 27 Groups Of Exercises, a book full of lip-slurs, double tonguing, and triple tonguing. Brown, Rachel (2003).
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Visual communication includes facial expressions, gestures, tonguing, and head- flicking. Tonguing is when a moustached tamarin moves its tongue across its lips. Head-flicking is when a moustached tamarin rapidly moves its head in an upward motion. Tonguing and head-flicking often co-occur and are used to communicate recognition, curiosity or anger.
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Most trumpet players will use a plunger with this technique to achieve a particular sound heard in a lot of Chicago Jazz of the 1950s. Double tonguing: The player articulates using the syllables ta-ka ta-ka ta-ka Triple tonguing: The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka or ta-ka-ta ta-ka-ta. Doodle tongue: The trumpeter tongues as if saying the word doodle. This is a very faint tonguing similar in sound to a valve tremolo.
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Other syllables for double tonguing are "tuh" and "kuh," "tih" and "kuh," and any other combination of syllables that utilize the tip of the tongue behind the front teeth and then the back of the tongue against the back of the mouth. Double-tonguing is an articulation primarily used by brass players, but the use of double-tonguing by woodwind players is becoming more common. A third, rare form of articulation for wind players is "doodle tonguing." The name of this articulation comes from the sound, doodle, one would make if she were to sound her voice while performing the articulation.
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Each student would receive a personalized routine that took into account the student's embouchure and tonguing types.
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A CD of his final recordings was released by Bridge Records in August 2007. It includes concertos by William P. Perry, Amilcare Ponchielli, Johann Melchior Molter and Oskar Böhme. Mr. Ghitalla was a great mentor to many trumpeters including Rolf Smedvig, Wynton Marsalis, Raymond Mase and countless others. Mr. Ghitalla's unique way of single tonguing was called "anchor tonguing" and was very similar to the tonguing style called "K Tongue Modified" by Claude Gordon and used by Herbert L. Clarke.
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Flutter-tonguing is a wind instrument tonguing technique in which performers flutter their tongue to make a characteristic "FrrrrrFrrrrr" sound. The effect varies according to the instrument and at what volume it is played, ranging from cooing sounds on a recorder to an effect similar to the growls used by jazz musicians.
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If a more soft tone is desired, the syllable "da" (as in double) is preferred. The technique also works for whistling. Tonguing also refers to articulation, which is how a musician begins the note (punchy, legato, or a breath attack) and how the note is released (air release, tongued release, etc.) For wind players, articulation is commonly spoken of in terms of tonguing because the tongue is used to stop and allow air to flow in the mouth. Tonguing does not apply to non wind instruments, but articulation does apply to all instruments.
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Double tonguing is easiest on brass instruments, and it is more difficult for some woodwind instruments, primarily the clarinet and saxophone. There is also "triple-tonguing", used in passages of triplets: "tee-tee-kee-tee-tee-kee", or less commonly "tee-kee-tee-tee-kee-tee". Cross-beat tonguing, used for dotted rhythms (Notes inégales: louré or pointé): tu-ru, with ru falling on the longer note on the beat. Another method was made by Earl D. Irons, this method was a tee-kee-tee kee-tee-kee.
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The bagpipes require finger articulations ("graces"), since direct tonguing is impossible.Kite-Powell, Jeffery (2007). A Performer's Guide to Renaissance Music, p.98. Indiana University. .
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However, different articulation markings require different tongue placement. Smooth, connected passages may require an articulation more reminiscent of the syllable "la," while heavy, sharp notes may be attacked with an articulation similar to "tah." Furthermore, the implementation of double-tonguing may be required when many articulations are required in rapid succession. Double-tonguing can be simulated by repeating the syllables "dig" and "guh" in rapid succession.
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There is a very prominent drum solo in the middle of the piece which includes a skillful dynamic change. It features staccato notes and sharp tonguing.
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His novel Tonguing the Zeitgeist was a finalist for the Philip K. Dick Award, and his work has been translated into Arabic, Finnish, Italian, Polish, and Turkish.
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The early flute: a practical guide, p.23. . Such as: : - (=) : tu-ru There are different ways of tonguing for the flute. Some flutists tongue between the teeth; others do it between the lips as if spitting; others do it behind the teeth in the roof of the mouth as with trill consonants. With this roof articulation the flutist thinks of the words dah-dah and for double tonguing it is dah-gah-dah-gah.
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Doodle-tonguing is achieved by moving the tip of the tongue up and down quickly to block the air stream momentarily on the way up, and again on the way down.
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Tonguing is indicated in the score by the use of accent marks. The absence of slurs is usually understood to imply that each note should be tongued separately. When a group of notes is slurred together, the player is expected to tongue the first note of the group and not tongue any of the other notes, unless those notes have accent marks. Trombone players must lightly tongue many slurs by tonguing "da"; otherwise, the result would be a glissando.
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Many extended techniques can be performed on the bassoon, such as multiphonics, flutter-tonguing, circular breathing, double tonguing, and harmonics. In the case of the bassoon, flutter-tonguing may be accomplished by "gargling" in the back of the throat as well as by the conventional method of rolling Rs. Multiphonics on the bassoon are plentiful, and can be achieved by using particular alternative fingerings, but are generally heavily influenced by embouchure position. Also, again using certain fingerings, notes may be produced on the instrument that sound lower pitches than the actual range of the instrument. These notes tend to sound very gravelly and out of tune, but technically sound below the low B. The bassoonist may also produce lower notes than the bottom B by extending the length of bell.
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In music, the term slap tonguing refers to a musician playing a single-reed instrument such as a clarinet or a saxophone employing a technique to produce a popping sound along with the note.
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Tonguing the Zeitgeist is an Avantpop novel by Lance Olsen, published in 1994 by Permeable Press. Finalist for the Philip K. Dick Award, it is a work of speculative fiction satirizing the commodification of the arts.
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He also played and recorded sometimes using E-flat alto and B-flat soprano saxophones as well. His style was noted for very rapid runs of well-articulated notes in between long legato phrases in a ragtime influenced style. The rapidly articulated notes were made possible by the advanced techniques of double-tonguing and triple-tonguing, similar to those used by brass (trumpet, trombone, etc.) players and flutists. He was also known for his style of vibrato, which was very wide during the later years of his playing.
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It was here that he composed pieces that had extended techniques for the saxophone including slap tonguing, circular breathing, multiphonics, and the altissimo register.Maguelone Records. Liner Notes: Joël Versavaud, Lauba: Neuf études pour saxophones MAG111 123 (2000). Retrieved 6 December 2010.
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The piece is built around a drone played on a B natural, which typically comes from an offstage source. In his instructions on the score, Berio writes, For much of the piece, Berio notates measures in seconds instead of bars, although there are some sections of the work that use traditional rhythmic notation. The piece calls for various forms of advanced and extended technique, including using five alternate fingerings for one note in a single measure, multiphonics, double tonguing, trills on multiple notes at a time, overblowing, flutter-tonguing, traditional harmonics, and microtonal trills. Jacqueline Leclair breaks down the piece into three sections.
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After a slightly faster middle section there is a recapitulation of a kind with, in Mellers's words, "enharmonic ambiguities that justify the 'malinconico' of the directive", and: The flute part is technically demanding in this movement, with frequent trills and demisemiquaver tonguing.
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The album was recorded in concert at Cankerjev Dom, Ljubljana, as part of the Ljubljana Jazz Festival, on July 3, 2015. The two tracks, improvised, were credited to the two musicians. On the first track, "The Eyes Moving. Slowly.", Gustafsson employs slap-tonguing and vocalizations.
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Due to its lack of keys, the ocarina shares many articulations with the tin whistle, such as cuts, strikes, rolls, and slides. However, tonguing is used more often on ocarina than on tin whistle, and vibrato is always achieved through adjusting breath pressure instead of with the fingers.
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Double and even triple tonguing is often required in order to play these rhythms. The trio in "The Melody Shop" is a good example of this. Many screamers have two prominent melodies playing at once. Although this is not unusual in a march, screamers tend to go further with this.
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Allmusic reviewer Jim Todd called it a "superior hard bop date" stating "Green's sound is distinguished by a finely controlled, soft articulation. It's not the squealing, serpentine legato of Eric Dolphy, but there are similarities. Green's approach allows him to play continuous streams of ideas rippled with the modulations of his subtle tonguing".
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Movement five is the finale. It begins with a slightly altered version of the "Crocodile Chorus", and recaps the various other movements of the piece. It ends with the soloist flutter tonguing a very loud note while spinning around in circles. This creates a sinusoidal sound effect, with a rising and falling volume.
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He contributed to the films Flying Down to Rio and Hondo, among others. Méndez was legendary for his tone, range, technique and unparalleled double tonguing. His playing was characterized by a brilliant tone, wide vibrato and clean, rapid articulation. His repertoire was a mixture of classical, popular, jazz, and Mexican folk music.
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The Simple Flute: from A to Z Oxford University Press, 2002. p. 253. . In English, the most common indication is "f.t." Other markings that composers have used to indicate flutter tonguing include: coupe de lange roulé, en roulant la langue, tremolo dental, tremolo avec la langue, tremolo roulé, vibrata linguale, vibrando, and colpo di lingua among others.Toff, Nancy.
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The ceòl mòr style was developed by the well- patronized dynasties of bagpipers MacArthurs, MacGregors, Rankins, and especially the MacCrimmons and seems to have emerged as a distinct form during the 17th century. Compared to many other musical instruments, the Great Highland bagpipe is limited by its range (nine notes), lack of dynamics, and the enforced legato style, due to the continuous airflow from the bag. The Great Highland bagpipe is a closed reed instrument, which means that the four reeds are completely encased within the instrument and the player cannot change the sound of the instrument via mouth position or tonguing. As a result, notes cannot be separated by simply stopping blowing or tonguing, so grace notes and combinations of grace notes, called "embellishments", are used for this purpose.
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Waino Kauppi (1898-1932) was a musician who played both the cornet and the trumpet. Known as the "Boy Wonder", at age 12 Kauppi was one of the first triple-tonguing cornetists. He played as a cornet soloist for bands like the Edwin McEnelly Orchestra, the Goldman Band and, his own, Waino Kauppi Suomi Orkesteri. He had numerous records to his credit.
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Waino Kauppi was born in 1898 and was an immigrant from Finland. He grew up in Maynard, Massachusetts, a factory town with a large Finnish immigrant population. He was a child prodigy and, by the age of 12, he became one of the first triple-tonguing cornetists. By 14, he was touring with bands such as Teel's Band of Boston.
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Woodwind and brass instruments generally produce articulations by tonguing, the use of the tongue to break the airflow into the instrument. Certain palate cues can help student musicians master articulations. For example, the syllable "dah" demonstrates one placement of the tongue to articulate notes. In most cases, using the near tip of the tongue, is the best way of articulation.
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These pieces were highly ornamented. Grace notes are used instead of tonguing, a technique used by the bagpipes. Unlike in most western music, any two notes were used as grace notes, rather than a tone gap. These pieces were written by taking a short theme and developing it in three sections, each section adding more complex ornaments and rhythms as it progresses.
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15, p. 764. Tonguing is a technique used with wind instruments to enunciate different notes using the tongue on the reed or woodwind mouthpiece or brass mouthpiece. A silent "tee"Arban's Complete Conservatory Method for Trumpet The Authentic Edition, p.7 is made when the tongue strikes the reed or roof of the mouth causing a slight breach in the air flow through the instrument.
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For examination purposes it was designed to show off the performer's ability to play a slow melody with a good sound and sensitive phrasing. The andante finishes with a diminuendo-ing long pause, and then moves into the 6/8 allegretto. This section demands a flamboyant and ostentatious playing style with quick tonguing. It is written for the more exuberant side of the trumpet's personality.
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There are sets of exercises for piano designed to stretch the connection between fourth and fifth fingers, making them more independent. Brass players practice lip slurs, which are unarticulated changes in embouchure between partials. Woodwind players (Saxophone, Clarinet, and Flute) have a multitude of exercises to help with tonguing techniques, finger dexterity, and tone development. Entire books of etudes have been written to this purpose.
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Reinhardt felt that each player's unique anatomical features required each player to perform differently and based his teaching on establishing the correct method for each individual student. He noted and categorized eight different tonguing types and four basic embouchure types with five subtypes.Reinhardt, Donald S., The Encyclopedia of the Pivot System For All Cupped Mouthpiece Brass Instruments, A Scientific Text. New York: Charles Colin, 1973.
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Contemporary music for the trumpet makes wide uses of extended trumpet techniques. Flutter tonguing: The trumpeter rolls the tip of the tongue (as if rolling an "R" in Spanish) to produce a 'growling like' tone. This technique is widely employed by composers like Berio and Stockhausen. Growling: Simultaneously playing tone and using the back of the tongue to vibrate the uvula, creating a distinct sound.
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Adolf Scherbaum was the first to specialize in the piccolo trumpet repertoire and to discover new baroque works, doing original transcriptions. Maurice André further developed the modern piccolo repertoire, playing the instrument for 50 years. The sound production technique is basically the same as that used on the larger B trumpet. Air pressure and tonguing are different, and players use a shallower mouthpiece for the piccolo trumpet.
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He later changed this definition to mean the pushing and pulling of a player's mouthpiece and lips together, as a single unit, up or down along the teeth while changing registers.Reinhardt, Donald S., The Encyclopedia of the Pivot System For All Cupped Mouthpiece Brass Instruments, A Scientific Text. New York: Charles Colin, 1973. According to Reinhardt, the three primary playing factors of brass technique were correct breathing, tonguing, and embouchure.
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Wasting no time, the orchestra begins with haunting chords, shrieking lower and lower, and the concerto begins. In the first movement, the soloist imitates the sound of a motorcycle changing gears. The extended trombone technique of flutter tonguing is used in combination with a plunger mute to create this effect. As the trombone section takes over this sound, the soloist shifts into a complicated passage of very high, and very fast notes.
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After 1950, works using E clarinet are too numerous to note individually. However, among those where the instrument is featured beyond what would be considered normal in recent music are John Adams's Chamber Symphony, where two players play E and bass clarinet and "double" on soprano and Adriana Hölszky's A due for two E clarinets. The extended techniques of the B clarinet, including multiphonics, flutter tonguing, and extreme registers, have all been imported to the E.
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Set in a post-earthquake Seattle, Tonguing the Zeitgeist is a story about Ben Tendo, a musician wannabe whose day job consists in taking orders at porno supplier Beautiful Mutants, Ltd. When every member of the reigning media- anointed grunge band is mysteriously assassinated, the music industry searches out a new pawn and zeros in on Ben Tendo, who they kidnap, turn into an addict, and implant with a new voicebox to increase the corporation's market shares.
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During his earlier years, Wiedoeft's use of vibrato was quite spare. Wiedoeft employed several other 'sound effects,' such as slap tonguing and "laughing" (altering/bending the pitch of the note) through his horn, and alongside his very distinguishable vibrato, became a part of his musical repertoire. While he incorporated some elements of early jazz into his playing, he remained stylistically a pre-jazz artist. Some of his original compositions were successes, notably Valse Erica, Valse Llewellyn, Saxema, Saxophobia, and Sax-o-Phun.
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Williams played in a style reminiscent of Ted Lewis only less smoothly. He also specialized in the style of Gas Pipe Clarinet which is when the instrument is used to produce all kinds of honks, growls, squeaks and effects that sounded like animal noises, laughter or other sounds you would not expect to hear from a clarinet. He was also a fine exponent of slap tonguing, and utilized circular breathing. This is shown off in his composition Playing My Saxophone.
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One of the earliest uses of flutter-tonguing was by Pyotr Ilyich Tchaikovsky in his ballet The Nutcracker. In the opening of the final act, Tchaikovsky makes the flutes flutter-tongue to depict the cascading river of rose-oil seen as Clara and the Nutcracker are welcomed to the kingdom of Confiturembourg: he named the effect frullato, as did the flautist who first introduced him to the technique, Alexander Khimichenko.Wiley, Roland John. Tchaikovsky's Ballets, Oxford University Press: 1997, p. 230. .
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Timbral roughness is achieved through various contrasts including the pairing of muted trombones with low oboes, using flutter- tonguing in the brass, glissando effects in the timpani, and giving solo material to instruments including contrabassoon and muted bass trombone, among other orchestrational and compositional choices. A constant, quick pulse is implicitly present throughout Moler, but syncopations and gaps in the texture add instability and drama. A two-note motif, short-long, and its slightly longer short-short-long version recur throughout.
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Tanner was noted for the ease with which he hit high notes and performed trills. He had the ability to whistle while triple-tonguing, and like Bing Crosby, he was able to whistle from his throat due to the muscles in his larynx. His range was from low G to high B. Professional whistler Joel Brandon has named Tanner as a "top pick". Ted Weems considered Tanner's whistling so important to his band, he insured the musician's throat with Lloyd's of London for $10,000 in 1939.
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In 1919 Waldron opened The Waldron School of Trumpet and Saxophone where he taught students such as Buddy Catlett and Quincy Jones. Waldron being an expert in his field, taught his pupils the basics of embouchure and phrasing, sight- reading, tonguing, furthermore even improvisation and ear-training. These specialized techniques were staple artistic skill for musicians to achieve before moving forward in their musical endeavors. While at this time Seattle operated largely outside of the radar of the large East coast jazz record labels, Waldron self-published his own records.
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To the east the land sloped more gently, and broader valleys were formed. During repeated periods of glaciation in the Great Ice Age of the Quaternary Period (i.e., about the last 2.6 million years), the scouring action of glaciers tonguing down the V-shaped valleys that were then part of the landscape created the magnificent U-shaped drowned fjords that now grace the western coast of Norway. Enormous masses of soil, gravel, and stone were also carried by glacial action as far south as present- day Denmark and northern Germany.
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The Cooker is considered to demonstrate Morgan's early bebop virtuosity, with frequent double time improvisational lines . It is also noted for performance trademarks which would later come to typify Morgan's style, such as clipped notes, upward slurs, half-valving, and triple-tonguing . On the bebop standard "A Night in Tunisia", Morgan avoids being compared with Charlie Parker's famous 4-bar break on the piece by not playing during it; he then plays a rapid solo that is mostly in double time.Chell, Samuel (January 29, 2007) "Lee Morgan: The Cooker (2006)".
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Dizi are often played using various "advanced" techniques, such as circular breathing, slides, popped notes, harmonics, "flying finger" trills, multiphonics, fluttertonguing, and double-tonguing. Most professional players have a set of seven dizi, each in a different key (and size). Additionally, master players and those seeking distinctive sounds such as birdsong may use extremely small or very large dizi. Circle Breathing is a technique characteristic of wind instruments such as the Dizi, in which the performer breathes through the nose while expelling air through the mouth at the same time to create a continuous sound.
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Though beside the Sligo area, and overshadowed to some extent by the rich musical tradition of its neighbour, Leitrim preserved a separate identity and tradition based largely on the flute. The Leitrim style is highly rhythmic, less ornamented, and with much use of glottal stops and even tonguing, as in the music of John McKenna. McKenna, from Tarmon, midway between Drumkeeran and Drumshanbo, is regarded as one of the most influential flute players in the history of Irish music. Local flute players from whom McKenna is known to have learned music were Hughie Byrne and Jamesy McManus.
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He contributed many arrangements and original compositions to the trumpet repertoire. His Scherzo in D minor is often heard in recitals, and has been recorded by David Hickman. He is regarded as popularizing "La Virgen de la Macarena", commonly known as "the bullfighter's song", to US audiences. Perhaps his most significant if not famous single recording, "Moto Perpetuo", was written in the eighteenth century by Niccolò Paganini for violin and features Mendez double-tonguing continuously for over 4 minutes while circular breathing to give the illusion that he is not taking a natural breath while playing.
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There were other ways in which his playing differed from the majority of classical saxophonists; these included his insistence on using the slap tongue as a pizzicato technique, and his use of flutter-tonguing. By 1970, narrow-chambered mouthpieces had become nearly universally popular, and mouthpiece manufacturers ceased production of large-chambered mouthpieces. This lack of supply meant that Raschèr's students had difficulty finding mouthpieces that would produce the tone they desired. For a period of time the only large-chambered mouthpieces were ones that had been manufactured in the 1920s and 1930s, leading Raschèr students to search pawn shops and other sources of old instruments.
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Connie Jones playing a long- model cornet Like the trumpet and all other modern brass wind instruments, the cornet makes a sound when the player vibrates ("buzzes") the lips in the mouthpiece, creating a vibrating column of air in the tubing. The frequency of the air column's vibration can be modified by changing the lip tension and aperture or "embouchure", and by altering the tongue position to change the shape of the oral cavity, thereby increasing or decreasing the speed of the airstream. In addition, the column of air can be lengthened by engaging one or more valves, thus lowering the pitch. Double and triple tonguing are also possible.
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The vivace finale brings all these techniques into one, requiring the trombonist to exhibit advanced range, legato, double tonguing, and flexibility. Thus, the piece is limited to the best trombonists, although there have been numerous recordings by such famed players as Joseph Alessi, Christian Lindberg and Ian Bousfield. It is often considered to be the trombone (and euphonium) equivalent (in terms of required mastery of the instrument) to the Carnival of Venice for trumpet or cornet, by Jean-Baptiste Arban. American composer Leroy Anderson also wrote an orchestral arrangement giving a very clean and sprightly melody to the high strings and woodwinds, befitting the female speaker of the lyrics.
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The score is 45 minutes long and is written in theme and variations form, with the solo cello representing Don Quixote, and the solo viola, tenor tuba, and bass clarinet depicting his squire Sancho Panza. The second variation depicts an episode where Don Quixote encounters a herd of sheep and perceives them as an approaching army. Strauss uses dissonant flutter-tonguing in the brass to emulate the bleating of the sheep, an early instance of this extended technique. Strauss later quoted this passage in his music for Le bourgeois gentilhomme, at the moment a servant announces the dish of "leg of mutton in the Italian style".
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Critical reviews of Linden's performances “acknowledged the virtuosity that Linden typically exhibited onstage . . . consistently [reporting] enthusiastic audience reaction and routine calls for encores.”Smialek & Logrande, p. 15. When she was sixteen, the Buffalo Courier favorably compared Linden to Lefebre—the pre-eminent saxophone soloist of the time and twenty-five years her senior—finding her playing to have “all the masculine strength of the soloist who is such a favorite in Gilmore’s Band, but her tonguing is better, and in delicacy and in correctness of expression she is his superior.” Another review in the Courier praised her technique and breath control: > Miss Louise Linden, the remarkable performer upon the saxophone . . .
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Rustle noise is noise consisting of aperiodic pulses characterized by the average time between those pulses (such as the mean time interval between clicks of a Geiger counter), known as rustle time (Schouten ?). Rustle time is determined by the fineness of sand, seeds, or shot in rattles, contributes heavily to the sound of sizzle cymbals, drum snares, drum rolls, and string drums, and makes subtle differences in string instrument sounds. Rustle time in strings is affected by different weights and widths of bows and by types of hair and rosin in strings. The concept is also applicable to flutter-tonguing, brass and woodwind growls, resonated vocal fry in woodwinds, and eructation sounds in some woodwinds.
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These three single grace notes (G, D, and E) are the most commonly used and are often played in succession. All grace notes are performed rapidly, by quick finger movements, giving an effect similar to tonguing or articulation on modern wind instruments. Due to the lack of rests and dynamics, all expression in Great Highland bagpipe music comes from the use of embellishments and to a larger degree by varying the duration of notes. Despite the fact that most Great Highland bagpipe music is highly rhythmically regimented and structured, proper phrasing of all types of Great Highland bagpipe music relies heavily on the ability of the player to stretch specific notes within a phrase or measure.
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He liked the piece well enough that when he began work on Des Canyons aux étoiles..., he adapted it for inclusion in the larger piece. The music is extraordinarily difficult for the performer, who must master a range of techniques: flutter- tonguing, closed notes, glissandos, and faintly-sounded oscillations produced with the keys half-closed. "Appel interstellaire" begins with a strident call that might reach out across the universe, and between the various calls and extended techniques (and several long silences), the horn sings two lyric passages. Along the way we hear the calls of two birds—the Chinese thrush and the canyon wren—and at the end the music fades into silence on a recall of the faint oscillations.
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The image she adopted during this period was described by Baker as "slick, minimalist and postmodern", and it was seen as a step forward from the "camp-infused" tone of Light Years. Larissa Dubecki from The Age used the term "nu-disco diva" to describe Minogue during this period. Andy Battaglia from The A.V. Club opined that Minogue's public image and her persona in her music videos "presented herself as a mechanical muse whose every gesture snapped and locked into place with the sound of a vacuum seal". He further remarked that the singer's "hygienic coo summoned a cool sort of cyborg soul, and her videos showed her gliding through sleek futurescapes, tonguing the sweet-and-sour tang of a techno kiss".
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Parker is better known for his later work, which rapidly assimilated the American avant-garde — John Coltrane, Pharoah Sanders, Albert Ayler and others — and forged his own, instantly identifiable style. His music of the 1960s and 1970s involves fluttering, swirling lines that have shape rather than tangible melodic content; sometimes he makes use of pure sound in a manner that recalls Steve Lacy's more radical 1970s recordings or the work of some Association for the Advancement of Creative Musicians (AACM) members. He began to develop methods of rapidly layering harmonics and false notes to create dense contrapuntal weaves; these involved experiments with plastic reeds, circular breathing and rapid tonguing which initially were so intense that he would find blood dripping onto the floor from the saxophone. He also became a member of the big band, the Brotherhood of Breath.
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According to John Humphries' The Early Horn, A Practical Guide: > The discovery of crooks is usually a great and unexpected pleasure to > performers who have previously used only modern double horns, for they > differ greatly in timbre and response. The highest keys, B and A, are very > focused and penetrating in tone, and respond quickly, making rapid tonguing > easy, but they soon become tiring to play because they are usually used for > very high parts. At the opposite end of the spectrum, the low B and C crooks > have a rich, dark almost muddy tone, but, because of their length -- B has > 18 feet (about 5.5m) of tubing -- are slow to speak. Indeed, the difference > in response between a horn crooked in B alto and one in B basso is akin to > the difference in handling between a sports car and a lorry.
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Stockhausen's opera cycle Licht includes a prominent basset-horn part in the role of Eve, also written for Stephens (; . It was at Stockhausen’s suggestion that Stephens took up the basset horn, in order that she should play a middle-register instrument between the trumpet and trombone, two of the other principal instruments in the opera cycle Licht, begun by Stockhausen in 1977. Stephens was often more of a co-creator than just an interpreter, collaborating in the exploration of all the dimensions of performance, including new playing techniques and special effects (such as flutter tonguing, glissandos, singing while playing, microtones, breath and key noises), as well as special choreography and costumes. The basset horn Suzanne Stephens plays is an instrument built by G. Leblanc Cie/Paris in 1977, with which she uses an E alto-clarinet mouthpiece in order to increase the resonance of the noises (; ).
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Of the primal appeal of the flute, Rampal once told the Chicago Tribune: "For me, the flute is really the sound of humanity, the sound of man flowing, completely free from his body almost without an intermediary[...] Playing the flute is not as direct as singing, but it's nearly the same." Calling Rampal "an indisputably major artist", The New York Times said "Rampal's popularity was grounded in qualities that won him consistent praise from critics and musicians in the first decades of his career: solid musicianship, technical command, uncanny breath control, and a distinctive tone that eschewed Romantic richness and warm vibrato in favor of clarity, radiance, focus and a wide palette of colorings. Younger flutists assiduously studied and tried to copy his approaches to tonguing, fingering, embouchure (the position of the lips on the mouthpiece) and breathing." Aside from his own recorded legacy, it was as much through his inspiration of other musicians that Rampal's contribution can be appreciated.
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Webern's compositions are concise, distilled, and select; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez later oversaw a project to record all of his compositions, including some of those without opus numbers, the results fit on just six CDs. Although Webern's music changed over time, as is often the case over a long career, it is typified by very spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often with leaps greater than an octave; and brevity: the Six Bagatelles for string quartet (1913), for instance, last about three minutes in total. Webern's music does not fall into clearly demarcated periods of division because the concerns and techniques of his music were cohesive, interrelated, and only very gradually transformed with the overlap of old and new, particularly in the case of his middle-period lieder. For example, his first use of twelve-tone technique was not especially stylistically significant and only eventually became realized as otherwise so in later works.
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