Sentence examples for rhythm shift from inspiring English sources

Mayweather, as ever, boxed by numbers: in and out, roll the shoulder, crack the right counter on to Manny's chin, the long left lead to the body to put him out of his rhythm, shift and away.

The composer's own feelings – imported suddenly on a bright stream of consciousness that, in addition to the normal punctuation, uses gaps of various widths to control rhythm – shift, then devastate, our perspective on his life and the depth, if not the nature, of his relationship with Stevie as a child.

This adolescent circadian rhythm shift includes a delay in the release of the sleep hormone melatonin, which begins its rise later in the evening than for younger children or adults.

The women salute Ms. Weese, the rhythm shifts, and the finale comes to a fast and furious finish.

Sanchez-Vicario lost first, falling prey to her own inconsistency and to Martinez's hypnotic, anachronistic rhythm shifts by the score of 6-1, 6-2.

The objective is to keep an opponent off balance by disguising shot direction and producing rhythm shifts, sharp angles and drop shots.

With its rhythm shifts and attacking bent, Federer's upset provides at least a template of how to beat Nadal on clay.

THE STRATEGY -- Shuttlers spend much of their time airborne in order to improve their hitting angles and generate leverage, but what makes badminton intriguing and an aesthetic delight are the rapid rhythm shifts: explosive smash and then silken dropshot.

On another Latin-flavored piece, Mr. Lake dug into a sequence of mercurial cascades, putting a sharp burr in his tone; when the rhythm shifted into swing for Ms. Allen, she exercised a probing sort of flair.

When you go to hear Pig Destroyer, the Virginia grindcore band that fires short songs like quick assaultive strobes, with virtuosic rhythm shifts and deft sound-samples, you want to be given a total working over.

He was one of the crucial artists of jazz, one of the essential innovators of so-called free jazz, working first with Cecil Taylor in the early nineteen-sixties, then with Albert Ayler in the mid-sixties, to undo the template of foot-tapping beats and render rhythm shifting, undulating, torrential.