Sentence examples for extemporary from inspiring English sources

The word "extemporary" is usable in written English and is well written
It is typically used to describe something done without preparation or extemporaneously, often in a speech or performance context. Example: "The speaker delivered an extemporary address that captivated the audience despite the lack of notes." Alternatives include "impromptu" or "unrehearsed."

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extemporary

Exact(9)

In extemporary speech, he produces such gems as: "We ought to make the pie higher," "Will the highways on the Internet become more few?" and "I think anybody who doesn't think I'm smart enough to handle the job is underestimating .Maybe they are, but such stumbles do not stop people wondering what sort of president America, and the world, would be getting if Mr Bush were elected.

This is a second outing with the New Jazz Composers Octet, which does what it says on the tin: small-ensemble generic modern jazz, shortish on extemporary flash, long on arrangement.

"Walk-off" home runs were not in evidence then — the great line is said to have been invented by Dennis Eckersley in 1993 — nor were shaving-cream pies in the face, but the Giants managed some extemporary celebrations all on their own.

Throughout, the extemporary passages – be it Simcock's workout on Barber Blues, or Dixon's soprano sax shredding on Speak to Me of Home – are far more interesting than the rather stilted writing.

He once supplied an extemporary translation for Marlene, who was singing Mahler's Resurrection Symphony in a choral society and wanted to know the meaning of its devotional Klopstock text.

Osborne is on the side of 'the communal, local, interpersonal, instinctive, extemporary and impressionistic aspects of life which are degraded when customary laws give way to written rules, experience to abstraction'.

And an "authentic," uncut Italian performance, complete with Baroque stage spectacle -- colorful sets changing before the audience's eyes -- and a full measure of extemporary vocal pyrotechnics from the singers, would fail to convey to a modern audience one of the most essential aspects of this opera: that it was conceived as popular entertainment.

Born in Manchester, Nigel studied at the Royal Welsh College of Music and Drama in Cardiff and then went on to train at the London School of Contemporary Dance (1981) before working with Ludus Dance company (1982-85) and Extemporary Dance Theatre (1985-86).

The first beneficiaries were the LCDT (with 20-odd dancers) and Ballet Rambert (now a modern dance company), while over a longer period she also persuaded the council to release cash to smaller companies such as Extemporary and Strider – which were based in London but toured the country – as well as to independent dancers.

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