How to pronounce “timbre” in English

And sometimes I worry that we've lost sense of feeling, especially the way the world is going now, the way people feel to talk to each other.Using timbre and color to actually create the sound of the Gamelan Orchestra.

you all have to use a color.And color and timbre was so important to Debussy, and to try and explain it, it was a lifetime of trying to understand how sound actuallyaffected the spirit. When we use words, are they the actual words-- and this has always been a fascinating idea for me.

And most people think of the Victorians as being uptight.Some people can hear timbre, but they can't perceive rhythm.

I had a professor who actually decided his timbres as well.He found 12 different timbres.He decided to use vowels, 12 different vowels, to create systems where you just would hear these vowels at different pitches and sounded like a bunch of vowels.

We can impose it on large-scale structure.We can impose it on timbre.Essentially, they got to a place where the logical system was predicting the entire piece.

I mean not in terms of-- I'm not going to change the way my voice sounds.She's got a different kind of timbre of voice than I do.But that stuff is just fun to get into the world of the character for sure.

You can make systems-- 12 different dynamics, 12 different everything.I had a professor who actually decided his timbres as well.He found 12 different timbres.

Second thing is that not every dimension needs to make sense.If you can make one dimension-- volume or pitch or rhythm or timbre-- make a lot of sense, then you get a lot of freedomto let the other things not make sense.

And that is the most common mistake I see anywhere I go-- people who are willing to be average.It's the tone, the timbre, the texture of your voice.

I feel like I'm in "The Graduate." It was plastic.richer sound. So those three things together helped to create the uniqueness of the timbre.

And most people think of the Victorians as being uptight.Some people can perceive rhythm, but they can't perceive timbre.

And now, what it does, it listened to these two drummers, and tricked the pitch from one drummer, and the rhythm from another.And the other arm, most from pitch and the timbre of the two players.So we played the rhythm that one player played, and the pitch-- well, it's not really pitch, it's in the drum, but this is lower and this is higher next to the rim,

I feel like I'm in "The Graduate." It was plastic.And the detachable necks, the different shapes of the necks give different timbres and different comfort levels of playing, is one example.

But I'm so happy with the voices that we found.And the objective was to try to match the cadence, the rhythm, and the kind of vocal timbre of those original characters.And when we found Linus with that lisp, I'm like, oh my gosh.

that a piano or any other instrument would have.So in that sense, now I have to take advantage of the other aspects of music: Tone color, timbre, you know, dynamics.You know, all these rhythmic things, chord voicings and expanding on harmonies and things like that.