Sentence examples for sequence of phrases from inspiring English sources

"Winterbranch," from 1964, is built around the theme of falling; in "Scramble," Cunningham experimented with open structure, allowing for a different sequence of phrases in each performance.

Coleman's instant response to the insult was to interpolate a fragment of the tune in a sequence of phrases seething with a dismissive anger he never allowed himself to show in conversation.

The melodic line may have its points of special emphasis and it may be shaped with a rise and fall of volume, but essentially the notes must be "bound" and the line must preserve a certain integrity: it is a unit in the sequence of phrases which constitute the melody.

Finally for each song recorded we assigned a song variant and song type based on its sequence of phrases.

Song variants and song types are defined by the sequence of phrases that compose a song either with (song variants) or without the inclusion of consecutive trill and buzz repeats (song types, see Terminology in Materials and Methods).

Song Types: a unique sequence of phrases that does not include consecutive trills and buzzes i.e. one or more buzzes are considered a single buzz and one or more trills are considered a single trill.

The words, the POS tags, the bigrams, the string of words, the sequence of phrase chunk types and the concept types used between e1 and e2; the word preceding e1/ e2; any of the three words succeeding e1/ e2; the predicates associated with both concepts and a feature that indicates whether a conjunction regular expression matched the string of words between e1 and e2.

The words, the POS tags, the bigrams, the string of words, the sequence of phrase chunk types and the concept types used between e 1 and e 2; the word preceding e 1/ e 2; any of the three words succeeding e 1/ e 2; the predicates associated with both concepts and a feature that indicates whether a conjunction regular expression matched the string of words between e 1 and e 2. Similarity (5 groups).

Sequences of phrasing seemed both independent of the music and yet judiciously right for some of its rhythms.

In the sequence of stately phrases with which the piano introduces itself in the lively first movement, Mr. Lang played the first with clarity and grace, but then pulled back in volume dramatically, as if the phrase that followed was coming from some distant echo chamber.

It's the voice that carries it, all whispered croaks "Straight ahead, that's the bed" followed by sequences of falling phrases that rise up like sobs "Where we la-a-ay in lo-o-ove togeth-e-er".