The chords necessary in this part, which with its supporting bass is called the continuo, were indicated by figures; and the evanescent and delicate tones of the harpsichord; lent themselves admirably to this purpose where solo voices and instruments were concerned.
The straight line and the line through the centre parallel to the chords are named conjugate diameters; each bisects the chords parallel to the other.
She asked "Uncle" for his guitar and at once found the chords of the song.
A diameter is a line through the centre and terminated by the curve: it bisects all chords parallel to the tangents at its extremities; the diameter parallel to these chords is its conjugate diameter.
In 1747 he applied his new calculus to the problem of vibrating chords, the solution of which, as well as the theory of the oscillation of the air and the propagation of sound, had been given but incompletely by the geometricians who preceded him.
It has passed through a far greater number of editions than any other work on natural history in the whole world, and has become emphatically an English classic - the graceful simplicity of its style, the elevating tone of its spirit, and the sympathetic chords it strikes recommending it to every lover of Nature, while the severely scientific reader can scarcely find an error in any statement it contains, whether of matter of fact or opinion.
It was so early recognized as characteristic of Chopin that a magnificent example may be seen at the end of Schumann's little tone-portrait of him in the Carnaval: a very advanced Wagnerian passage on another principle constitutes the bulk of the development in the first movement of Beethoven's sonata Les Adieux; while even in the " Golden Age " of music, and within the limits of pure diatonic concord, the unexpectedness of many of Palestrina's chords is hardly less Wagnerian than the perfect smoothness of the melodic lines which combine to produce them.
The only illogical point in his system is that the beauty of his dreamlike chords depends not only on his artful choice of a timbre that minimizes their harshness, but also on the fact that they enter the ear with the meaning they have acquired through centuries of harmonic evolution on classical lines.
This is of constant occurrence in classical pianoforte music, in which thick chords are subjected to polyphonic laws only in their top and bottom notes, while the inner notes make a solid mass of sound in which numerous consecutive fifths and octaves are not only harmless but essential to the balance of tone.
Sca, through,, u rpov, measure), in geometry, a line passing through the centre of a circle or conic section and terminated by the curve; the "principal diameters of the ellipse and hyperbola coincide with the "axes" and are at right angles; " conjugate diameters " are such that each bisects chords parallel to the other.
Newton defined the diameter of a curve of any order as the locus of the centres of the mean distances of the points of intersection of a system of parallel chords with the curve; this locus may be shown to be a straight line.
Anteriorly these chords embrace the oesophagus and unite with the cerebral mass which innervates the pair of eyes when present.
Similarly, if L2 repre sents the sum of the chords when m (assumed even) is replaced by 2m, we have an expression involving L2 and 20.
The Howe truss had timber chords and a lattice of timber struts, with vertical iron ties.
In the most numerous cases the flanges or chords are parallel.
But girders may have curved chords and then the stresses in the web are diminished.
For practical purposes it is accurate enough to consider the booms or chords as carrying exclusively the horizontal tension and compression and the web as resisting the whole of the vertical and, in a plate web, the equal horizontal shearing forces.
If A t A, are the cross sections of the tension and compression flanges or chords, and h the distance between their mass centres, then on the assumption that they resist all the direct horizontal forces the total stress on each flange is Ht=H,=M/h and the intensity of stress of tension or compression is f t = M/Ath, f c = M/Ach.
This obviously represents a conic intersecting the circle a(3y+bya ca(3=o in points on the common chords la+m(3+ny=o, as+b(3 +cy =o.
In these pieces, as in almost every production of his, in lieu of melody Liszt offers fragments of melody - touching and beautiful, it may be, or passionate, or tinged with triviality; in lieu of a rational distribution of centres of harmony in accordance with some definite plan, he presents clever combinations of chords and ingenious modulations from point to point; in lieu of musical logic and consistency of design, he is content with rhapsodical improvisation.
On one side are placed the natural lines (as the line of chords, the line of sines, tangents, rhumbs, &c.), and on the other side the corresponding artificial or logarithmic ones.
The middle points of a system of parallel chords is a straight line, and the tangent at the point where this line meets the curve is parallel to the chords.
The first book deals with the generation of the three conics; the second with the asymptotes, axes and diameters; the third with various metrical relations between transversals, chords, tangents, asymptotes, &c.; the fourth with the theory of the pole and polar, including the harmonic division of a straight line, and with systems of two conics, which he shows to intersect in not more than four points; he also investigates conics having single and double contact.
The fifth book contains properties of normals and their envelopes, thus embracing the germs of the theory of evolutes, and also maxima and minima problems, such as to draw the longest and shortest lines from a given point to a conic; the sixth book is concerned with the similarity of conics; the seventh with complementary chords and conjugate diameters; the eighth book, according to the restoration of Edmund Halley, continues the subject of the preceding book.
The highest chords he strikes are those of reason and self-love.
Chords that Richelieu played.
Denisov, with sparkling eyes and ruffled hair, sat at the clavichord striking chords with his short fingers, his legs thrown back and his eyes rolling as he sang, with his small, husky, but true voice, some verses called "Enchantress," which he had composed, and to which he was trying to fit music:
Let a be the radius of a circle, and 0 (circular measure) the unknown angle subtended by an arc. Then, if we divide 0 into m equal parts, and L 1 denotes the sum of the corresponding chords, so that L i =2ma sin (0/2m), the true length of the arc is L1 +a9 3 - 5 + ..., where cp. =B/2m.