Word: fluting
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Through the evening the orchestra had a mellower, thicker tone than its great U.S. colleagues. Its string section sounded as sweet and intimate as a string quartet, its winds included a solo flute and solo oboe of melting beauty, and its brasses played with a polished but slightly lethargic quality. Conductor von Karajan, lean and dapper, planted his feet firmly, took a stance with elbows bent as if carrying an invisible basket of flowers. His style was mannered-in his most ardent moments he bent stiffly from the waist and closed his eyes-and he gave the impression of overseeing...
...conventional drum set-and used his three saxophones solo, duet, and trio. It was a changing group, and since many of the men had never played together before, they had no choice but to experiment. Sonny Watson occasionally laid aside his alto saxophone and took up the flute. It was barely audible at times, but his few solos proved that the instrument can be used effectively in jazz. John Lewis' use of the conga drum was less novel perhaps-both it was "new sound" to many and very well received. For Alan Miller at the piano the concert...
...wrong equipment, a great deal can go wrong with sound. Its top can be lopped off, like a headless amateur photograph, making a violin sound like a flute because its characteristic overtones are gone; its bottom can be restricted, making the basses sound an octave or more higher (or not at all). Overtones can be added that were never played by the musician (harmonic distortion) or be thickened (intermodulation...
...program opened with Bach's Brandenburg Concerto No. 5, in which Cynthia Crain, Annette Colish and Kenneth McIntosh all played with assurance the solo parts for flute, violin and keyboard, respectively (a piano was used for the original harpsichord). Though technically a concerto grosso, this work is in a sense the first real solo concerto for keyboard, owing to the general prominence and the extended cadenza allotted to it. McIntosh's runs were as even as pearls, and he exerted admirable dynamic restraint throughout (his versatility even extended to playing the horn in the other works). The initial orchestral tempo...
During World War II he picked up a "nose flute," used by South Pacific islanders who like to make music and chew betel nut at the same time. He was recently heard to play Abdul, the Bulbul Ameer on this odd instrument. At nights aboard the Helena, Pride's staff gathers in the wardroom for informal musical sessions, with the ship's paymaster banging out tunes on the spinet in the key of C (which is the only one he knows) while other musical officers toot away on harmonicas...