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Discover LudwigThe phrase "beautiful timbre" is correct and can be used in written English
It is typically used to describe a pleasing or attractive quality of someone's voice or an instrument's sound. Example: Her singing voice was stunning, with a clear and beautiful timbre that captivated the audience.
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It's very hard to find beautiful timbres.
And yet, she greets the Joads most cordially: "her voice had a beautiful low timbre, soft and modulated, and yet with ringing overtones".
"Eonta," at its rare beautiful moments, is about one instrument echoing the timbres of others: the brass musicians direct their force at the piano's strings, which respond with resonances uncannily resembling distant brass tones.
Resonant environments like vast, synthetic prairie lands blanket $uccessor, as do icy surfaces and shimmering, metallic timbres; it's a meditative, cinematic and uncannily beautiful record.
Montreal's Bozzini Quartet gave a virtuosically still performance of his Third String Quartet at this year's Huddersfield Contemporary Music festival, and the group's recording of the half-hour piece is beautiful for the up-close, quiet, grainy realness of the string timbres, every bow hair and every arm quiver audible.
The sound is astonishing, the mix of dark timbres – and just when you think it cannot get any more beautiful or true, Schubert offers one of his heart-wrenching harmonies.
But novel as the timbre was, the performance's real selling points were Mr. Neidich's meltingly beautiful phrasing, the enveloping warmth of the quartet's tone and the unfailing precision of the collaboration.
Even the timbre of his voice changed as he told old buddies over and over how beautiful she still looked.
Hibla Gerzmava, as Stella and Antonia, and Enkelejda Shkosa, as Giulietta, both in their house debuts, brought darker timbres to their roles, and Ms. Gerzmava made the most of Antonia's wrenchingly beautiful "Elle a fui, la tourterelle".
Mr. Haas, a composer associated with the French spectral school, in which timbre and resonance are particularly important, has dazzled with otherworldly pieces like "In Vain," a psychedelically beautiful soundscape performed in pitch darkness.
It's the distribution of sound and timbre in this front line of sax, vibes and trombone, and his own resonant hum: he has a beautiful, commanding tone on the bass.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com