Sentence examples for treble line from inspiring English sources

In later polyphonic arrangements the melody shifted gradually to the treble line from its original position in the tenor.

They sang with calm dignity, delivering a beautifully sustained treble line and a wonderful hovering quality from tenors and altos.

The base nucleotides -- cytosine, adenine, guanine and thymine -- were matched with the musical notes C, A, G and E, to form the treble line on a musical staff.

In "Slinking Around Midnight," Roberto Andreoni imagined Louis Armstrong (in a bass line phrased with verve) and Ella Fitzgerald (in a treble line that imitated scat singing) performing the song as a duet.

Playing Bach's Prelude and Fugue in G from Book I of "The Well-Tempered Clavier" on an organ does indeed make the contrapuntal conversation clearer than on any piano, but not when booming pedal notes obscure the treble line.

The sombre sequence finally ends with the Ascension chorus "Lift up your heads", which Handel initially divides between two choral groups, the altos serving both as the bass line to a soprano choir and the treble line to the tenors and basses.

Ken Noda, the pianist, supplied a nervy athleticism, though at times his treble lines were lost in the commotion.

Ms. Hirs, intent on mining the piano's vast palette, devoted her first movement to percussive bass figures, her second to pointillistic treble lines and her finale to a cascading elaboration on a figure borrowed from Debussy's "Feux d'Artifice".

The B theme in the key of B-flat major is closely related to the main theme presenting its counterpoint with the bass and the treble melody lines moving in opposite directions (in contrary motion), to each other and then exchanging their melodies (bars 29-30 and 31-32).

When the ostinato's recurrences are free enough and the bass line and treble melody of the tutti stand out enough, the effect is that of an expressive aria (solo song, as in an opera) with a firm prelude and postlude (as in Vivaldi's Opus 3, No. 8), providing one of the many hints of operatic influences in the concerto grosso.

So this is how it goes: the book, large enough and bound cunningly to fit on a music stand without its spine breaking, has on the right hand side of its pages the music (treble clef melody line only) and lyrics, and on the left a short note by Matthews that tells us a bit about the song, or her life, most often her childhood, or both.