parallel motion การใช้

• This secondary melodic line or phrase is then harmonized in parallel motion.
• The first one was in 1989 by Ross Lewis named " Parallel Motion ."
• Parallel motion in unison, fifths, octaves, thirds, and occasionally fourths was used in moderation.
• It is a six pillar single cylinder tank-bed engine complete with Watts parallel motion.
• The melodies of the two hands sometimes move in parallel motion, but often play contrapuntally.
• In parallel motion, rhythmic harmony or in harmonic patterns varying interval combinations can be found.
• The chords move in parallel motion similar to Debussy.
• "' Close harmony "'is an arrangement of the parallel motion with the melody in 3rds or 6ths.
• The parallel motion differed from Watt's linkage by having an additional pantograph linkage incorporated in the design.
• Twentieth century developments include the parallel motion drawing board, and more complicated improvements on the basic T-square.
• Instruments are used meagerly and none too creatively, and drones and parallel motion are added sparingly, only after the Virtues'victory.
• Bar 89 onwards contains parallel motion in both hands played forte and leading directly into the final arpeggiated cadences played fortissimo.
• The piston crossheads slid in guides, rather than being controlled by a parallel motion linkage like the majority of early locomotives.
• Chords move in parallel motion as in Debussy's writing, but are more dissonant, The work concludes with assai lento marked con malinconia.
• What therefore happens is that energy is converted, from the part associated with the parallel motion "'v "'/ / to the perpendicular part.
• Other early steam locomotives such as Watt's earlier parallel motion and did not constrain the crosshead to move in such an accurate straight line.
• Its distinguishing factor is that the parts did not have to move only in parallel motion, but could also move in oblique, or contrary motion.
• Since the magnetic Lorentz force is always perpendicular to the magnetic field, it has no influence ( to lowest order ) on the parallel motion.
• The second is the parallel motion, which converts the up-and-down motion of the piston into the arcing motion of the beam, whilst maintaining a rigid connection.
• Ligeti does not adhere to a great many constraints of fugue, however, as successive entrances often result in a great deal of parallel motion between the voices.