Word: tonally
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Dates: during 1930-1939
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...more than tootle scales. He has to produce overtones, color, play loud & soft. Violinists depend on "bowing" technique. A flautist depends on "lipping." By shaping his lips differently, altering the quantity and speed of the escaping air, making it strike the mouthpiece at different angles, he can produce ingenious tonal colors, change the volume, manage the most difficult harmonics. The quality of the tone is affected too by what the flute is made of. Thirty years ago most flutes were wooden. Nowadays all but five U. S. flautists use instruments of silver or some cheaper metal. Flutes have also been...
...festival lasted three days, of which one whole morning was devoted to Hindemith's less complicated works, with the composer on the viola. People were impressed by the assurance with which the flabby, sad-eyed man played his Sonata for Viola Alone, his curious indifference to tonal qualities. Later they had a chance to hear Hindemith's Der Schwanendreher (The Organgrinder) which had never been played in the U. S. before. Der Schwanendreher is a concerto for viola and small orchestra, based on traditional German folk tunes. In it Hindemith expanded a song called Among Hills and Valleys...
...weaves of radiation at radio frequencies can also be guided along a cable, if the stations are fixed arid if the cable can carry a wide enough frequency band. Such an arrange ment enables the cable-carried waves to be fortified by amplifiers at intervals along the route, minimizes tonal losses due to static and fading. Such a cable is the famed coaxial cable developed by American Telephone & Telegraph Co.'s research subsidiary, Bell Telephone Laboratories...
...tinkling music box, the harpsichord has two keyboards, as many as seven stops, can produce more than 100 tonal "color" combinations...
...piano seem not like a man-made instrument but like a vibrant human voice spontaneously singing, whispering, shouting to the skies. Every piano student knew the pieces by Gluck, Beethoven, Chopin, Liszt. But fresh cause for wonder were Hofmann's dazzling arpeggios, the flying double octaves, the countless tonal colors. Said Critic Olin Downes in the New York Times next day: "It was playing of the grandest and most compelling sort...