What is another word for crescendo?

Pronunciation: [kɹəʃˈɛndə͡ʊ] (IPA)

Crescendo is a musical term used to indicate an increase in volume or intensity. Synonyms of the word include building, surge, escalation, intensification, climax, upsurge, and peak. These words are used to describe a gradual or sudden increase in something, such as a sound or emotion. The term crescendo is commonly used in classical music, but its synonyms can be used in a variety of contexts, such as sports, politics, or relationships. Whether describing the rise of a team's success or the building of tension in an argument, using synonyms for crescendo can add variety and depth to language.

Synonyms for Crescendo:

What are the hypernyms for Crescendo?

A hypernym is a word with a broad meaning that encompasses more specific words called hyponyms.
  • hypernyms for crescendo (as nouns)

What are the hyponyms for Crescendo?

Hyponyms are more specific words categorized under a broader term, known as a hypernym.

What are the opposite words for crescendo?

Antonyms for the word "crescendo" include words such as diminuendo, decrescendo, or tapering. Diminuendo means a decrease in volume or intensity, while decrescendo is a gradual decrease in volume. Tapering is a decrease in force or thickness that gradually narrows to a point. Other possible antonyms for crescendo include words such as abatement, decline, or subsiding, which typically refer to a decrease in intensity, strength, prominence, or importance. Regardless of the specific antonym used, each of these words suggests a gradual reduction or lessening of something rather than an increase or buildup in volume or intensity, as in the case of crescendo.

What are the antonyms for Crescendo?

Usage examples for Crescendo

He knew that his sister was capable of making, not one, but half a dozen scenes with a well defined tragic crescendo at the close of each.
James Huneker
The evening was like a crescendo, admirably devised and carried out.
"The Way of Ambition"
Robert Hichens
Far to the south a low, intermittent, yet ever deepening, crescendo bass note began to sound.
"Rose of Dutcher's Coolly"
Hamlin Garland

Famous quotes with Crescendo

  • I regard the as one of the world's masterpieces. Its character-drawing, its deep and rich humanity, its perfect finish of style and its story entitle it to that. Its characters live, more real and more familiar to us than our living friends, and each speaks an accent which we can recognize. Above all, it has what we call a great story: a fabulously beautiful Chinese house-garden; a great official family, with four daughters and a son growing up and some beautiful female cousins of the same age, living a life of continual raillery and bantering laughter; a number of extremely charming and clever maid-servants, some of the plotting, intriguing type and some quick-tempered but true, and some secretly in love with the master; a few faithless servants' wives involved in little family jealousies and scandals; a father for ever absent from home on official service and two or three daughters-in-law managing the complicated routine of the whole household with order and precision [...]; the "hero," Paoyü, a boy in puberty, with a fair intelligence and a great love of female company, sent, as we are made to understand, by God to go through this phantasmagoria of love and suffering, overprotected like the sole heir of all great families in China, doted on by his grandmother, the highest authority of the household, but extremely afraid of his father, completely admired by all his female cousins and catered for by his maid-servants, who attended to his bath and sat in watch over him at night; his love for Taiyü, his orphan cousin staying in their house, who was suffering from consumption [...], easily outshining the rest in beauty and poetry, but a little too clever to be happy like the more stupid ones, opening her love to Paoyü with the purity and intensity of a young maiden's heart; another female cousin, Paots'a, also in love with Paoyü, but plumper and more practical-minded and considered a better wife by the elders; the final deception, arrangements for the wedding to Paots'a by the mothers without Paoyü's or Taiyü's knowledge, Taiyü not hearing of it until shortly before the wedding, which made her laugh hysterically and sent her to her death, and Paoyü not hearing of it till the wedding night; Paoyü's discovery of the deception by his own parents, his becoming half-idiotic and losing his mind, and finally his becoming a monk. All of this is depicted against the rise and fall of a great family, the crescendo of piling family misfortunes extending over the last third of the story, taking one's breath away like the .
    Cao Xueqin
  • About the eroticism of Anthony Burgess, it is interesting to notice that we never find ‘penetrative Eros’ either in twosome, threesome or a roomful of people. Anthony is, more than reticent, endowed with what used to be called ‘Christian modesty’ (which is also, Muslim, Jewish Orthodox Fundamentalism and Hindu, be it said). The grosser form of the sexual act is, very effectively, either - and this is more often the case - suggested by sequences of rhythmical images, as in Tremor of Intent when Miss Devi’s seduces Rupert Hillier in his ship cabine and her initial seduction followed by his response are evoked in a splendidly rhythmical crescendo (I’ve heard him read the pages aloud during a lecture given in Oklahoma or Denver), or, funnily and matter-of-factly, in a foreign language, as when, in a case of rape brought by Malay assistant against a small Chinese shopkeeper, her employer, while the prosecution goes on about "had he done this and he done that, and had there been any attempt to, shall we say, force his attention on her, and had he perhaps been importunate in demanding her favours"… The interpreter, having listened very patiently, just asks the girl, ‘Sudah masok?’ and she replies, quick as a flash, ‘Sudah.’
    Anthony Burgess
  • In the case of a novel, or any imaginative work, especially if the tone is poetic, my own preference is for ending with a touch of symbolism which shall leave the reader brooding. A fine novel, a well-written story, "proves" nothing. Certain characters have played their parts, life goes on, and the final passage may be allowed to remain with one foot in the air, as is the case with some of Chopin's conclusions. But there is no absolute rule in such matters, and there are epic novelists who like to end on a powerful crescendo, as Ravel does in Bolero, or Dvorak in the New-World Symphony. Composition has features which are common to all the arts, and the author can learn as much about his business in the concert hall as in the library.
    André Maurois

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