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Word: chromaticisms (lookup in dictionary) (lookup stats)
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Directors who have worked in digital don't agree. They say it's capable of a chromatic subtlety that film can't match. Michael Mann, whose 2004 Collateral was, he says, "the first photo-real use of digital," is using the same process to shoot the big-screen version of...

Author: /time Magazine | Title: Can This Man Save The Movies? (Again?) | 3/12/2006 | See Source »

For example, instead of simply repeating the chorus, they'd use the first line in different ways: as the first line of the verse ("Dawn, go away I'm no good for you"), as the resolution of the bridge ("Big girls don't cry") or as the entire bridge ("I...

Author: /time Magazine | Title: The Falsetto Meets "The Sopranos" | 11/25/2005 | See Source »

But the album’s most striking element is its dense, chromatic musical textures. Guess may be some of Difranco’s most opaque work yet, full of tense, unsettling suspended chords that never quite resolve. There are no ballads like “32 Flavors�...

Author: NO WRITER ATTRIBUTED | Title: NEWMUSIC | 2/13/2004 | See Source »

After this smooth opening, Frankie switched instruments and tempos, kicking into sizzling Latin mode with a cut from his new album A.S., dedicated to Arturo Sandoval. Here the rhythm section began to show its chops. The percussionists (drum and conga players) performed a rocking and driving solo that got the...

Author: By Evan Lushing, CONTRIBUTING WRITER | Title: Frankie V: One Smooth Dude | 2/15/2002 | See Source »

On Lapalco, Benson sounds very much as he does in performance. The music runs far and wide from meditative to exuberant, driving to wispy, and at his heart, Benson exemplifies a kind of perpetual garage-band spirit but he manages to leave behind the negative baggage associated with that label...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: Brendan Benson Bounces Back | 2/8/2002 | See Source »

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