Sentence examples for section of the score from inspiring English sources

This section of the score was published shortly after the composer's death, but few people have ever heard it.

The singing evaporated bit by bit, each musician leaving off to play a part on his instrument; another section of the score called for all unoccupied members of the band to strike up casual conversations with one another.

The section of the score in which the bluesy serenity of the gods is disrupted by cosmic chaos is especially delightful: the chaos is depicted through music of raucous, syncopated, jazzy boisterousness.

The extensive revisions that he made to the St .John Passion in 1725 — "Herr, unser Herrscher" was not the only striking section of the score to be cut — were possibly the result of outside interference.

Listeners could quibble about Mr. McAdams's decision to have the trumpet calls played onstage rather than off, but this was an electrifying reading, and the vigorous, magnificently polished string playing in the final section of the score made any such reservations seem beside the point.

Axelrod originally wanted some of the album's compositions to feature a large-scale choir, but was uncertain if he could find the appropriate ensemble, so he recorded an entirely instrumental album and included one Blake setting for each section of the score.

Still, as Ms. Ondracek explained, he wrote sections of the score on different sheets of paper so the performers could decide the order of performance.

What are some of your favorite sections of the score? A. The party scene, which is extremely, in our production, active and rigorous and complicated.

More arresting than the written-out sections of the score are Herbert's electronic soundscapes, which climax with the Heath Robinson-like workings of Andy Cavatorta's musical installation The Dervishes and its sinister whispering.

In Witness, for example, he employed a group of 10 synthesists, each one working on sections of the score at the same time, while Jarre conducted them as if for a chamber ensemble.

But the idea that the dancers are competitive when executing the same movement, in unison or in echoing phrases, soon gives way to the dialogue evoked by the second and third sections of the score's five movements.