"Semitone" Quotes from Famous Books
 ... before my repentant conscience. A beautiful sensuousness distinguishes the nocturne in G major: it is luscious, soft, rounded, and not without a certain degree of languor. The successions of thirds and, sixths, the semitone progressions, the rocking motion, the modulations (note especially those of the first section and the transition from that to the second), all tend to express the essential character. The second section in C major reappears in E major, after a repetition ...
— Frederick Chopin as a Man and Musician - Volume 1-2, Complete • Frederick Niecks
... the lowest. If we commence a scale with G, our do will be on the second line from the bottom, and the octave on the first space above the staff; and so on for all the other scales except those which commence a semitone below or above. For example: the scales of the key of G and of G flat would be placed exactly the same upon the staff, though the signature of G would be one sharp upon the staff at the beginning, and that of G flat would be six flats. The same may be said of the keys ...
— Lippincott's Magazine, Vol. 22, August, 1878 • Various
... the first place, a considerable variety of pitches is no doubt represented in both groups since a universal pitch standard did not exist in the 16th and 17th centuries. Also, a margin of error of only a semitone is as good as could be expected considering the small number of examples on ...
— Italian Harpsichord-Building in the 16th and 17th Centuries • John D. Shortridge
... closing upon the room, and in the hush of sunset the voice of the waters had lifted its pitch and was humming insistently, with but a semitone's fall and rise. During the priest's exhortations he had turned his face to the wall; but now for an hour he had lain on his other side, studying the rafters, the furniture, the ray of sunlight creeping along the floor-boards and up the dark, veneered face of an armoire built into the wall. ...
— Fort Amity • Arthur Thomas Quiller-Couch |
