chromatic figure

A solitary clarinet line is all that remains from the original treatment of the chromatic figure.

Like the first movement, the thematic material in the third is presented through tone rows and chromatic figures.

He used chromatic figures, and was not afraid to resolve a line on a vinegary, bitter note.

Then, intermittently, a short, snaky chromatic figure worked itself into the long strings of single notes.

This is followed by pauses and chromatic figures to express hesitation and despair.

The sinking chromatic figure that accompanies Amfortas seems to carry the entire weight of human unhappiness on its back.

This rising chromatic figure is repeated before the "Et expecto resurrectionem mortuorum".

"Mother Earth" features an unusual descending chromatic figure and an often-quoted chorus:

The Philharmonic also had the technique and finesse to color the finale's downward chromatic figures with great delicacy.

Measures 13-16 outline the chromatic figure on the first beat of each measure in the left hand with similar suggestions in the treble half-notes.

Later on in the evening, Mr. Lloyd pushed for more vigor, throwing out jaunty chromatic figures.

Mr. Thorne's work, for string quartet and oboe, developed several chromatic figures introduced at the start by the oboe.

This half step, followed by a short rising chromatic figure, is described by Cindy Bylander as Penderecki's "sighing motive."

This theme is then taken up and extended by a pair of clarinets, accompanied by the same harp glissandi and chromatic figures that opened the section.

This chromatic figure, sometimes dubbed the "lamento bass", has been utilized by composers as early as Monteverdi as a musical representation of anguish, pain, and longing.

The familiar chromatic scale and the interval of a half step are immediately emphasized, as seen in the rising chromatic figure in the cellos and basses in mm.

A mournful, sinking chromatic figure runs through "Nach dir, Herr, verlanget Mich," and its sometimes wavy textures, almost in the form of measured trills, give off a strange pictorial quality.

It begins with an allegro section, consisting of brief chromatic figures across the orchestra that build slowly to a trio section, after which it returns to the feeling of the allegro beginning for the coda.

As in Bruckner's later great masses, the setting of the words "Et resurrexit" is preceded by the "old-fashioned rhetorical gesture" of a "rising chromatic figure in stile agitato representing the trembling of the earth."

The resulting opposition between chords and fast, single-voice chromatic figures resembles the compositional alternation of clusters and melodic gestures in Karlheinz Stockhausen's Klavierstück X (Guigue and Onofre 2007, 210).

The chromatic structures are sometimes surprising, as in the beginning of "La mia doglia s'avanza", whose opening chords move from G minor to F-sharp major then D minor and finally C-sharp major, commencing a series of descending chromatic figures.