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Huygens' maintaining power in use. The weight drive used by Christiaan Huygens in his early clocks acts as a maintaining power. In this layout, the weight which drives the clock is carried on a pulley and the cord (or chain) supporting the weight is wrapped around the main driving wheel on one side and the rewinding wheel on the other.
It was used in the astronomical regulator clocks made by his German firm Clemens Riefler from 1890 to 1965, [3] which were perhaps the most accurate all-mechanical pendulum clocks made. An escapement is the mechanism in a mechanical clock that gives the pendulum precise impulses to keep it swinging, and allows the gear train to advance a set ...
A train song is a song referencing passenger or freight railroads, often using a syncopated beat resembling the sound of train wheels over train tracks.Trains have been a theme in both traditional and popular music since the first half of the 19th century and over the years have appeared in nearly all musical genres, including folk, blues, country, rock, jazz, world, classical and avant-garde.
A musical clock is a clock that marks the hours of the day with a musical tune. They can be considered elaborate versions of striking or chiming clocks. [1] Elaborate large-scale musical clocks with automatons are often installed in public places and are widespread in Japan. Unlike conventional electronic musical clocks, these clocks plays pre ...
In striking clocks, the striking train is a gear train that moves a hammer to strike the hours on a gong. It is usually driven by a separate but identical power source to the going train. In antique clocks, to save costs, it was often identical to the going train, and mounted parallel to it on the left side when facing the front of the clock. [11]
It was in this Piercebridge hotel that the author encountered a remarkable clock that inspired the song. The song, told from a grandchild's point of view, is about his grandfather's clock. The clock is purchased on the morning of the grandfather's birth and works perfectly for 90 years, requiring only that it be wound at the end of each week.
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The arrangement requires temple blocks to be used as the sound of the clock that is heard throughout, except for a brief section in the middle. The piece is in 4 4 time; the opening establishes a perfectly regular "tick-tock" accompaniment, beginning with a roll off the orchestra's staccato strike of an A chord, creating an expectation that it will continue.
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