By Connie Brown
Booklet via Brown, Connie, Debacker, Matt
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There is still in simple terms the duty to thank those that have helped me with particular feedback and the editors who've kindly granted permission to reprint fabric which first seemed within the pages in their journals. To the previous crew belong Alan B. Brinkley and Max O. Hocutt component to chap ters I and VI have been released in Philosophy of technological know-how; of chapters IV and V in views in Biology and medication; of bankruptcy VIII in Dialectica; of bankruptcy IX within the British lournal for the Philosophy of technological know-how; and of bankruptcy XIII in Synthese.
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Extra info for Creative Plans for Yard and Garden Structures: 42 Easy-To-Build Designs for Gazebos, Sheds, Pool Houses, Playsets, Bridges and More!
10. Mixed scales with three shi/ted centres. It is possible to arrange series of notes in such a manner that every successive note belongs to another centre. The result is ascale, which will be called a mixed scale because members of the various melodie subscales have been mixed up. The first example shown is the major scale of TARTINI, containingeight notes and supported by a perfectly symmetrical bass which shows three centres at distances of a perfect fifth . I. 11 '" ft d : .. 5 : I:dey:t:doh I I I r I r 1 46 MIXED SCALES The example shows, on aseparate stave, other scales which are suitable for use in accompanying parts.
The pairs of leading notes a and b Lj" f \~ and g (lah : dey = muy : soh = 20 : 21, or me: sey = tuy : ray = 20 : 21) have been met before. 13. Inversion, centres in t and e Lj" or t and d ~ (fah : tey 4: 7). The inversion in question produces the following notes: = f:g :a :c :eLj, f: aLj,: cLj,: dLj,: eLj, Because it would be a littIe troublesome to invent vocables for d Lj" c Lj" a Lj" it is permissible to shift part of the second group through the imperceptible interval of 224: 225, so as to get g ~ : b : c ~ : d ~ and vocalise with fa : soh : lah : doh : fey ta: süh : te: düh: rüh f : s : J : d ,&[ r r:J I t is important not to get too high a pitch with e L" (fey or rüh).
111, §§ 7 & 8). There are two subscales with centres j and aL (jah and tey) and two connecting leading notes e and b LP (me and dey) which have their centres in c and in d L (doh and mey). Example W will be best suited for soprano and strings. ACKNOWLEDGMENTS In conclusion I wish to express my indebtedness to several friends, to the late composer WILLEM PIJPER, to his pupil JAN VAN DIJK, to Professor DOUGLAS R. , for encouragement and much useful help. s : : d : p d : : : d d : : d : f : -~ d : f .