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Most time signatures consist of two numerals, one stacked above the other: The lower numeral indicates the note value that the signature is counting. This number is always a power of 2 (unless the time signature is irrational), usually 2, 4 or 8, but less often 16 is also used, usually in Baroque music. 2 corresponds to the half note (minim), 4 to the quarter note (crotchet), 8 to the eighth ...
Wire sized 1 AWG is referred to as "one gauge" or "No. 1" wire; similarly, thinner sizes are pronounced "x gauge" or "No. x" wire, where x is the positive-integer AWG number. Consecutive AWG wire sizes thicker than No. 1 wire are designated by the number of zeros: No. 0, often written 1/0 and referred to as "one-aught" or "single-aught" wire
No. 7/0, the largest size, is 0.50 inches (500 mils or 12.7 mm) in diameter (250 000 circular mils in cross-sectional area), and the smallest, No. 50, is 0.001 inches (1 mil or 25.4 μm) in diameter (1 circular mil [cross-sectional area] or 0.7854 millionths of a square inch).
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16. [1]
Comparison of SWG (red), AWG (blue) and IEC 60228 (black) wire gauge sizes from 0.03 to 200 mm² to scale on a 1 mm grid – in the SVG file, hover over a size to highlight it. In engineering applications, it is often most convenient to describe a wire in terms of its cross-section area, rather than its diameter, because the cross section is directly proportional to its strength and weight ...
No. 1 is 0.30 in. (300 thou), and the smallest, No. 50, is 0.001 in. (1 thou or 25.4 µm). The system as a whole approximates an exponential curve, plotting diameter against gauge-number (each size is a approximately a constant multiple of the previous size). The weight per unit length diminishes by an average of approximately 20% at each step.
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The verse of the theme to Valley of the Dolls uses the time signatures 4 4, 3 4, 2 4, 4 4, 4 4, effectively producing 17 4. The rhythmic proportions of Stockhausen's Klavierstück IX are governed by the Fibonacci series, resulting in time signatures of e.g. {{Time signature|21|8}}, {{Time signature|34|8}}, {{Time signature|42|8}}, {{Time ...