glissando

• “The technical operation known as glissando is peculiar to the harp alone.”

  Principles of orchestration

• “I've read most of my trip book, Thomas Harlan's Wasteland of Flint, which is a kind of glissando Lovecraftian space opera set in an imperfectly realized alternate history in which the Aztecs conquered the world and run the human empire in space.”

  Kenneth Hite's Journal

• “The strings are generally plucked with the fingers, but the peasants obtain charming "glissando" effects by sweeping the strings lightly one after the other with the fingers or side of the hand.”

  Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 2 "Baconthorpe" to "Bankruptcy"

• “Buckmaster cites the french horn glissando in the introduction to Marvin Gaye's I Heard It Through the Grapevine.”

  The Guardian: Elton John, the Beach Boys and the fine art of pop alchemy

• “She made windchimes from the song-storms 'leavings, and they shone in the windows and chimed glissando like the sweetest eighth-notes and sixteenth-notes.”

  Valentines, part the first

• “I stripped the back of my right thumb playing glissando - that's where you flick the keyboard to produce that crashing down the keys effect - and one of the keys in the lower register must have had a sharp edge, so my left thumb has a patch of missing skin.”

  On Sunday morning, I woke with bleeding fingers and a pocket full of dice

• “After Mr. Goines alighted to the stage and played a solo on soprano, Mr. Gordon climaxed the tune with a glissando and high note, phrased more like a saxophone than a tr ombone.”

  The Wall Street Journal: Singing and Swinging

• “Start slow, speed up, seek a machine-like precision -- no buzzes, no squeaks on the chord changes or glissando, varied tone, volume.”

  Practicing

• “The jocular expression of an approaching dangerous social situation is often conveyed by people sounding out its ominous low-pitched glissando quavers.”

  Archive 2010-04-01

• “Even "Canto" (added to the group in 1966) is more obviously rhapsodic, but the surface is made possible by a technical feature, the glissando possibilities of the pedal timpani.”

  Magna Carter (7): Either/Or

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