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violas

violas Sentence Examples

  • But, when we look at the many passages in which the violas double the basses, we shall do well to consider whether there is room in the harmonic scheme for the violas to do anything else, and whether the effect would not be thin without them.

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  • Already Mozart divides his violas into two parts quite as often as he makes them play with the basses.

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  • Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.

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  • In Der Ring des Nibelungen Wagner specifies the proportions of the string-band as 16 first and 16 second violins, 12 violas, 12 violoncellos, 8 double basses.

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  • Classical and modern chamber-music in the sonata style consists mainly of string-quartets for 2 violins, viola and violoncello; string-trios (rare, because very difficult to write sonorously); pianoforte-trios (pianoforte, violin and violoncello); pianoforte-quartets (pianoforte with string-trio); pianoforte-quintets (pianoforte with string-quartet); string-quintets (with 2 violas, very rarely with 2 violoncellos), and (in two important cases by Brahms) stringsextets.

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  • After planting the space between the rows of tulips may be planted with such plants as forget-me-nots, wallflowers, silenes, violas, double white arabis, polyanthuses, &c., to obtain beautiful colour combinations in spring.

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  • In the front row patches of the white arabis, the yellow alyssum, white, yellow, blue, or purple violas, and the purple aubrietia, recurring at intervals of 5 or 6 yards on a border of considerable length, carry the eye forwards and give a balanced kind of finish to the whole.

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  • You think you hear the violas, but it's really the second violins.

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  • All instrumentalists are welcome, although new violas, oboes and brass are particularly welcome.

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  • But, when we look at the many passages in which the violas double the basses, we shall do well to consider whether there is room in the harmonic scheme for the violas to do anything else, and whether the effect would not be thin without them.

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  • Already Mozart divides his violas into two parts quite as often as he makes them play with the basses.

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  • Otherwise, when Beethoven has anything special for the violoncellos to say, he invariably softens and deepens their singularly incisive cantabile tones by doubling them with the violas.

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  • The following is Bach's fullest orchestra: the string-band, consisting (as at the present day) of violins in two parts, violas, violoncellos, doubled (where the contrary is not indicated) by double basses; the wind instruments (generally one to each part, as the string-band was never large)-2 flutes, 2 or 3 oboes, or oboe d'amore (a lower-pitched and gentler type), taille or oboe da caccia (some kind of alto oboe corresponding to the cor anglais), bassoon, generally doubling the string basses, 2 horns, with parts needing much greater practice in high notes than is customary to-day, 3 (occasionally 4) trumpets, of which at least the first 2 were played by players especially trained to produce much higher notes than are compatible with the power to produce the lower notes (the high players were called Clarin-Blaser; and the others Principal-Blaser); a pair of kettle-drums, tuned to the tonic and dominant of the piece.

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  • In Der Ring des Nibelungen Wagner specifies the proportions of the string-band as 16 first and 16 second violins, 12 violas, 12 violoncellos, 8 double basses.

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  • Classical and modern chamber-music in the sonata style consists mainly of string-quartets for 2 violins, viola and violoncello; string-trios (rare, because very difficult to write sonorously); pianoforte-trios (pianoforte, violin and violoncello); pianoforte-quartets (pianoforte with string-trio); pianoforte-quintets (pianoforte with string-quartet); string-quintets (with 2 violas, very rarely with 2 violoncellos), and (in two important cases by Brahms) stringsextets.

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  • In Tannhauser and Lohengrin Wagner's intellectual power develops far more rapidly in the drama than in the music. The Sangerkrieg, with its disastrous conflict between the sincere but unnatural asceticism of the orthodox Minnesingers and the irrepressible human passion of Tannhauser, is a conception the vitality of which would reduce Tannhauser's repentance to the level of Robert le Diable, were it not that the music of the Sangerkrieg has no structural power, and little distinction beyond a certain poetic value in the tones of violas which had long ago been fully exploited by Mozart and Mehul, while the music of Tannhauser's pilgrimage ranks with the Vorspiel to Lohengrin as a wonderful foreshadowing of Wagner's mature style.

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  • (See Pansy.) "Bedding violas," which differ from pansies in some slight technical details, have been raised from V.

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  • After planting the space between the rows of tulips may be planted with such plants as forget-me-nots, wallflowers, silenes, violas, double white arabis, polyanthuses, &c., to obtain beautiful colour combinations in spring.

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  • In the front row patches of the white arabis, the yellow alyssum, white, yellow, blue, or purple violas, and the purple aubrietia, recurring at intervals of 5 or 6 yards on a border of considerable length, carry the eye forwards and give a balanced kind of finish to the whole.

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  • You think you hear the violas, but it 's really the second violins.

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  • All instrumentalists are welcome, although new violas, oboes and brass are particularly welcome.

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  • Violins, violas, and other orchestral instruments should be fitted to the student.

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  • Pansies and violas are lovely annuals that love cool temperatures.

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