![]() * Williams seems to be a fan of open spacing in the strings. Trombones or horns will be given simple chords in the middle of their range, with the woodwinds perhaps doubling the strings or interjecting little contrapuntal lines. Meanwhile, the basses will be playing a pizzicato bassline that emphasizes the downbeats. ![]() The violins, violas, and cellos all play the melody in octaves, although the top octave or two in the violins are primarily what you hear. * Lush or sweeping melodies are often given to all the strings except the basses. His orchestrators understand that he wants it broken up among all these instruments according to their respective ranges.) (These choices are typically made by his orchestrators - in WIlliams' sketch, he just writes out the run in a single octave and writes "wind" above it. The flutes, oboes, and clarinets will all play the entire run in two, three, or even four octaves, with the individual instruments dropping out or dropping an octave when they start to get too high. Typically, these are not chromatic - they instead follow a scale that's appropriate to the harmonic structure of the music at that moment. * Action music very often calls for ascending runs in the woodwinds, sometimes doubled by the strings, piano, and/or percussion. ![]() Williams will stack this sort of chord against other chords in all kinds of ways to create various sorts of tension. An example would be (in ascending order) C-Ab-B. * In dissonant passages, Williams likes to use an unusual chord that I'm not sure what to call. The horns are sometimes used to fill in the gaps, reinforce the middle voices, and/or double the trumpets. * For certain types of big, brassy fanfares, he'll often use block chords in the trumpets, with the trombones playing the same thing an octave below, sometimes with some chords in slightly different inversions. I can offer some rather low-level observations about a variety of (mostly orchestration-related) techniques Williams is fond of: Putting one's finger on exactly what those are requires varying degrees of knowledge about music theory. It's more of an accumulation of small things, I'm sure. Neurofibromatosis Type 1: Molecular and Cellular Biology will be of great value to medical geneticists, molecular and cellular biologists, oncologists, dermatologists, neurologists, genetic counsellors and general practitioners alike.This is something I (and countless others, I'm sure) have thought about from time to time. Written by internationally recognized experts in the field, the 44 chapters that constitute this edited volume provide the reader with a broad overview of the clinical features of the disease, the structure and expression of the NF1 gene, its germ line and somatic mutational spectra and genotype-phenotype relationships, the structure and function of its protein product (neurofibromin), NF1 modifying loci, the molecular pathology of NF1-associated tumours, animal models of the disease, psycho-social aspects and future prospects for therapeutic treatment. This book presents in concise fashion, but as comprehensively as possible, our current state of knowledge on the molecular genetics, molecular biology and cellular biology of this tumour predisposition syndrome. ![]() Neurofibromatosis type 1 (NF1), caused by mutational inactivation of the NF1 tumour suppressor gene, is one of the most common dominantly inherited human disorders, affecting 1 in 3000 individuals worldwide.
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