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Besides providing insulation, dark patterns on wings provided by dark colour scales would allow sunlight to be absorbed and thus probably have a role to play in thermoregulation. Bright and distinctive colour patterns in butterflies which are distasteful to predators help communicate their aposematism (toxicity or inedibility) thus preventing a ...
The wings, head parts of thorax, and abdomen of Lepidoptera are covered with minute scales, from which feature the order Lepidoptera derives its names, the word lepidos in Ancient Greek meaning "scale". Most scales are lamellar (blade like) and attached with a pedicel, while other forms may be hair like or specialised as secondary sexual ...
The song features a distinctive, chugging 16th-note guitar riff, drum beat and a simple chord structure typical of Nicks' songs. The song's title for the single release was "Edge of Seventeen (Just Like the White Winged Dove)". In the United States, "Edge of Seventeen" just missed out on the top 10 of the Billboard Hot 100, peaking at No. 11 ...
Minor chords are noted with a dash after the number or a lowercase m; in the key of D, 1 is D major, and 4- or 4m would be G minor. Often in the NNS, songs in minor keys will be written in the 6- of the relative major key. So if the song was in G minor, the key would be listed as B ♭ major, and G minor chords would appear as 6-.
The single version contains both guitar and keyboard, but the interlude is slightly shorter, reducing the song from 5:01 to 4:48. The vinyl single includes a full-length version with guitars in the mix. Finally, the radio edit of the single goes further by omitting the entire piano interlude, bringing the song down to 4:10.
In contrast, in the chord-scale system, a different scale is used for each chord in the progression (for example mixolydian scales on A, E, and D for chords A 7, E 7, and D 7, respectively). [5] Improvisation approaches may be mixed, such as using "the blues approach" for a section of a progression and using the chord-scale system for the rest. [6]
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According to Reise, all scales (including the 9-note scale of the Poème Op. 71 No. 1) either resolve or impliy resolution to the octatonic or whole scales. Matthew Bengtson writes, “...the mystic chord acts as a kind of mediator, a convenient means of transit, hovering, as in mid-air, between the whole-tone and octatonic harmonic worlds." [10]