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词汇 example_english_allegro
释义

Examples of allegro


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After the slow first movement, the fast tempo and sonata-allegro design of the second movement more closely resembles the traditional opening movement of a symphony.
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In measure 135, the allegro con spirito 16th-note section returns in the 1st violin, punctuated by staccato eighth-notes in the other instruments.
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The dance is a brisk allegro in 2/4 time in a major key.
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The first movement is a sonata-allegro movement that is concise, with an economy of materials.
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The "allegro" is skillfully transformed into a more disciplined and broader movement than the original, while retaining its innovative spirit.
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The second "allegro" is an energetic fugue, the brief exchanges between concertino and ripieno strictly derived from the unusually long subject.
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The majority of dances, both solo and group, are built on allegro.
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The tenth variation starts the buildup to the climax with an un poco allegro e alla burla tempo.
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The second variation branches of the first and is marked allegro agitato.
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Dancers strive to exhibit ballon in large jumps as well as in small, quick jumps such as petite allegro steps.
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He marks a piece presto but plays only allegro.
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The allegro finale is in 3/8 time and is 24 measures long.
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The following allegro con fuoco section gives the ostinato to the violas, this time in diminution.
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The rest of the movement continues at allegro vivace tempo.
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The music becomes a lively rondo marked "allegro vivace", the cello solo returning with a forceful entry into the rondo theme.
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The first movement falls roughly into the shape of a sonata allegro, and contrasts material of a grim tone with more mysterious, reflective moments.
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Most were characterized as andante, but some songs, on humorous themes, were allegro.
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The first of these, "allegro assai", introduces a steady tread against music with a nasal-like sound.
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The third movement, allegro moderato, is the finale with introduction, rondo of scherzando rhythm and coda.
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Poulenc chooses to bypass the conventions of sonata allegro in the opening movement in favor of ternary form, with a slower middle section.
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There is a long slow section in the middle of the movement before the allegro moderato material eventually returns at the conclusion.
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The following aria, marked allegro, contrasts the storm, in unison runs of the strings, with calmer motion in the oboes.
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The tempo accelerates to allegro for the development.
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Slow movements, in particular, are seen as being similar to sonata-allegro form, with differences in phrasing and less emphasis on the development.
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The first movement begins with a fanfare style, ten bar passage, followed by the allegro part of the movement.
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The second variation is faster, marked allegro scherzando.
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The first movement is in sonata-allegro form and echoes of the following transformations can already be heard in the final bars.
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A brief introduction is followed by an allegro exposition featuring sharply contrasting dynamics.
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The song is upbeat and set to an "allegro moderato" pace.
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The final "allegro" is a sort of polonaise in binary form for full orchestra.
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The fourth movement is a brief largo, like an accompanied recitative, which leads into the final "allegro" fugue.
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Like many other concerti, the opening movement is written in the standard sonata-allegro form, but with considerably more emphasis placed on the exposition.
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The delightful fifth "allegro" is written for full orchestra.
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She excelled both in adagio and allegro, which is very unusual in dancers.
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The first movement is written in common sonata-allegro form, and an array of techniques are used to mimic orchestral colors.
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The first movement is in sonata-allegro form, and begins with a rhythmically flexible, unpredictable 6/4 melody in the violas and cellos.
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An accelerando then introduces the allegro moderato section which is based upon the opening melody from the bassoon.
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However, after the first and second themes it diverges from the regular sonata-allegro form.
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The opening and closing allegro movements are usually in sonata form and are characteristically galant.
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The second movement is a brisk allegro.
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The piece is in sonata-allegro form.
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In measure 22, all instruments reach "forte", and allegro con spirito character is apparent through the 16th-note movement and lively staccato eighth-notes trading off between the parts.
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The concerto ends "allegro vivo" presented by full orchestra.
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Allegro, but not too mucho (2:15): 15.
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The opening tempo is marked "allegro agitato".
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The introduction gives way to the main portion of the movement, in which six melodies are developed and recapitulated in a very contrapuntal example of sonata-allegro form.
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The following "allegro" is a short four-part fugue which concludes with the fugal subject replaced by an elaborated semiquaver version of the first two bars of the original subject.
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The second movement is a lively allegro.
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Following this is an allegro scherzando section.
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The subject of the "allegro" fugue in 6/8 time, two rhythmic bars leading into four bars in semiquavers, allowed him to make every restatement sound dramatic.
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In these works the forward thrust of the classical sonata allegro is replaced by a new fragmentation using the juxtaposition of strongly contrasting blocks of material.
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The cello opens the concerto with an unaccompanied recitative followed by a classical sonata-allegro.
In particular, they sing at a fast allegro tempo for attentional purposes - that is, to attract the infant's attention.
The second movement was usually a fugal allegro, and the third and fourth were binary forms that sometimes resembled the sarabande and gigue.
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After the reappearance of the march, the main allegro theme of the first movement returns.
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Analysts who see the fugue as a variation of sonata-allegro form consider this to be part of the recapitulation section.
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The concerto reflects the ritornello form of the baroque concerto as well as the emerging structure of the sonata-allegro form.
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After the third time the chords are repeated, a continual accelerando passes through allegretto and allegro sections to a piu mosso section.
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The following highly inventive movement is a brilliant and animated "allegro", a moto perpetuo.
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Within several minutes a more intense allegro is reached.
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Whether the tempestuously allegro or the leisurely adagio, the exuberant audience was entranced with the pianists superb artistry, exquisite style and perfect artistic performance.
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The thirteenth variation is marked "allegro furioso" is the final buildup to the huge climax.
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The fourth variation is a lively "allegro capriccioso".
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The slow introduction announces the motif on which the allegro vivo is based.
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The basic structure of the two fantasies is essentially the same: allegro, slow movement, scherzo, allegro with fugue.
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The second movement starts with a slow "andantino" section, then progresses into a lively allegro presto.
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These examples are from corpora and from sources on the web. Any opinions in the examples do not represent the opinion of the Cambridge Dictionary editors or of Cambridge University Press or its licensors.
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