Sentence examples for orchestra voice from inspiring English sources

His compositions included works for orchestra, voice and various chamber music combinations.

Milica Paranosic's "Tiger's Wife: Prologue," for orchestra, voice, electronics and video projection, also evoked folk traditions in its adaptation of Téa Obreht's best-selling 2011 novel, and it featured the composer playing the gusle, a Balkan bowed string instrument.

Library Music Source Digital library of public-domain scores, sheet music, and performance parts of standard and less common classical repertoire for piano, organ, guitar, chamber ensemble, orchestra, voice, and chorus, including vocal scores of complete operas, oratorios, and cantatas.

Because the orchestra, voices and dialogue all existed on the same soundtrack, the task was enormously difficult.

He does lush, spacious things with piano, organ, solo cello, string quartet, string orchestra, voices and crackling electronics, and the arrangements are sensitively done, though I can't say I found much compelling drama in it.

Mr. Dello Joio wrote dozens of pieces each for chorus, orchestra, solo voice, chamber groups and piano, as well as scores for television and three operas.

The piece, which is heavy on contrapuntal writing but demands a light touch by players and singers alike, "can be difficult to learn and perform because of the intricacies" that Williams uses to weave orchestra and voice, Mr. Jamerson said.

"At this point," said Mr. Shepard, "I'm waiting to hear from Steve and looking for problems — digital noise, a bad splice, wrong notes in the orchestra, a voice or an instrument that seems too distant, a pause that lasts too long.

Let's pause it there, and now we're going to go on to recording B. So what's the difference here in approach in terms of orchestra — everything — voice, and how does recording B differ from recording A? Got to get a new track up here.

That unsettling tension between orchestra and voice creates an affecting uncertainty, and Gilfry seemed alert to every dramatic Whitmanesque option.

The Eighth, marking the end of the middle period, returns to a combination of orchestra and voice in a symphonic context.