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Spiral array model: pitch class, major/minor chord, and major/minor key helices. The model as proposed covers basic pitches, major chords, minor chords, major keys and minor keys, represented on five concentric helices. Starting with a formulation of the pitch helix, inner helices are generated as convex combinations of points on outer ones.
The value of the two products in the chord theorem depends only on the distance of the intersection point S from the circle's center and is called the absolute value of the power of S; more precisely, it can be stated that: | | | | = | | | | = where r is the radius of the circle, and d is the distance between the center of the circle and the ...
A circular segment (in green) is enclosed between a secant/chord (the dashed line) and the arc whose endpoints equal the chord's (the arc shown above the green area). In geometry, a circular segment or disk segment (symbol: ⌓) is a region of a disk [1] which is "cut off" from the rest of the disk by a straight line.
Intriguingly, for most chords multiplicity values are less than the actual number of constituent tones—a prediction that has been validated empirically. [citation needed] Pitch salience is the clarity or prominence of a pitch sensation. The root of a major chord in root position has greater pitch salience than other tones in that chord.
The angle between a chord and the tangent at one of its endpoints is equal to one half the angle subtended at the centre of the circle, on the opposite side of the chord (tangent chord angle). If the angle subtended by the chord at the centre is 90°, then ℓ = r √2, where ℓ is the length of the chord, and r is the radius of the circle.
This formula is also true for other units of measurement such as in feet. The relationship of versine, chord and radius is derived from the Pythagorean theorem. Based on the diagram on the right: = We can replace OC with r (radius) minus v, OA with r and AC with L/2 (half a chord).
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For example, the proximity of the C major and e minor chords reflects the fact that the two chords share two common tones, E and G. Moreover, one chord can be transformed into another by moving a single note by just one semitone: to transform a C major chord into an E minor chord, one need only move C to B.