Simpanovic
Ny medlem
[OT] Omval 2014.
Håll käften!
[OT] Omval 2014.
- Trådstartare Trident21
- Start datum
[OT] Omval 2014.
pow skrev:
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> Tycker vi tar och kör hela pandareklamen i denna
> tråden också :) (ursäkta att jag bryter mot
> 2min regeln med några sekunder)
>
jag som har Panda Antivirus .. Pro visserligen men det kanske var ett dumt val :-(
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> Tycker vi tar och kör hela pandareklamen i denna
> tråden också :) (ursäkta att jag bryter mot
> 2min regeln med några sekunder)
>
jag som har Panda Antivirus .. Pro visserligen men det kanske var ett dumt val :-(
[OT] Omval 2014.
Nej! Jag blev sittande och tittade på hela - tre minuter åt skogen! Mm... Mmm... Papa Pinguin, papa... NEEEJ!
nisse56 skrev:
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> nu är dom här igen ..
> instämmer med pow .. tyvärr är den över två
> minuter ...
>
>
>
nisse56 skrev:
-------------------------------------------------------
> nu är dom här igen ..
> instämmer med pow .. tyvärr är den över två
> minuter ...
>
>
>
[OT] Omval 2014.
YYZ is the IATA airport identification code for Toronto Pearson International Airport, of Rush's native area of Toronto. It is common practice for air navigation aids to broadcast their identifier code in Morse Code using VHF omnidirectional range (VOR). A plane using VOR equipment would then always know it's tracking the right station. The song's introduction, played in a time signature of 5/4, repeatedly renders the letters "Y-Y-Z" in Morse Code using various musical arrangements.
"YYZ" rendered in Morse code
Y Y Z
- . - - - . - - - - . .
"YYZ" is structured in the following arrangement: A-B-C-B-A (with each of these sections containing smaller subsections). The song starts with the YYZ Morse Code played by Peart on the crotales (A). The guitar and bass join this pattern, using the dissonant interval of the tritone to distinguish Morse Code dots and dashes. The guitar and bass render the code by playing the root note of C for the "dashes" and the tritone F# for the "dots". The synthesizer melody played over this arrangement is an example of the Locrian mode. In live performances, the synthesizer part is played by bassist/keyboardist Geddy Lee using a pedal MIDI controller (Korg MPK-130 & Roland PK-5)[1] while he simultaneously plays the bass part. After two cycles of the melody, the synth ceases, and the bass drops one octave, the introduction ending on the guitar, bass, and drummer making hits on only the "dashes". A brief (one measure of two-four time; i.e., a half-note rest) pause follows, before the next section.
The next section features the guitarist, bassist, and drummer playing up- and down-scale runs for three measures (the first and third in common time and the second in two-four time), in unison. The first two measures of this section demonstrate the use of a C# natural minor scale juxtaposed against a C tonic so as to create a hybrid octatonic scale effect (i.e., the first, second and (flat) third degrees of C# natural minor—C#, D# and E -- functioning as the b2 (Db), #2 (D#) and 3 (E) of the C half-whole diminished scale; the fifth, (flat) sixth and (flat) seventh degrees of C# natural minor—G#, A and B -- functioning as the #5 (G#), 6 (A) and 7 (B) of the C whole-half diminished scale; the 4 (F#) of C# natural minor functions as the tri-tone (#4/b5) of both octatonic—i.e., half-whole diminished and whole-half diminished—scales. Notably, this two-bar phrase begins with, and resolves to, C. The third and final bar of this section constitutes a brief modulation to F# Lydian. The next pattern follows a verse structure, going from an F#m9 chord to a Am9 chord, then back to an F#m9, then to a Am9 again. Alex Lifeson plays another riff along with a F#m9 chord, where the bassist plays supporting bass notes. The chord structure goes from a F#m9, to a C altered dominant chord. This cycle of riffs repeats twice.
In the next section (C), the guitar provides structure with rhythmic B major and C7 chords, with the bass and drum trading fills at the end of each cycle. After the final, extended drum fill, the guitar plays an oriental scale oriented solo in B Phrygian dominant. The solo climaxes with a guitar run, followed by a synthesizer break. Following this section, the song returns to the arrangement established earlier in the song, after which it ends in a musical run combining bass and drums (with the guitar sustaining its last note from the previous section), a short reprise of the tritone section from the beginning held at the end according to a fermata, and finally, a short run in unison by bass, guitar, and drums to close the song.
"YYZ" rendered in Morse code
Y Y Z
- . - - - . - - - - . .
"YYZ" is structured in the following arrangement: A-B-C-B-A (with each of these sections containing smaller subsections). The song starts with the YYZ Morse Code played by Peart on the crotales (A). The guitar and bass join this pattern, using the dissonant interval of the tritone to distinguish Morse Code dots and dashes. The guitar and bass render the code by playing the root note of C for the "dashes" and the tritone F# for the "dots". The synthesizer melody played over this arrangement is an example of the Locrian mode. In live performances, the synthesizer part is played by bassist/keyboardist Geddy Lee using a pedal MIDI controller (Korg MPK-130 & Roland PK-5)[1] while he simultaneously plays the bass part. After two cycles of the melody, the synth ceases, and the bass drops one octave, the introduction ending on the guitar, bass, and drummer making hits on only the "dashes". A brief (one measure of two-four time; i.e., a half-note rest) pause follows, before the next section.
The next section features the guitarist, bassist, and drummer playing up- and down-scale runs for three measures (the first and third in common time and the second in two-four time), in unison. The first two measures of this section demonstrate the use of a C# natural minor scale juxtaposed against a C tonic so as to create a hybrid octatonic scale effect (i.e., the first, second and (flat) third degrees of C# natural minor—C#, D# and E -- functioning as the b2 (Db), #2 (D#) and 3 (E) of the C half-whole diminished scale; the fifth, (flat) sixth and (flat) seventh degrees of C# natural minor—G#, A and B -- functioning as the #5 (G#), 6 (A) and 7 (B) of the C whole-half diminished scale; the 4 (F#) of C# natural minor functions as the tri-tone (#4/b5) of both octatonic—i.e., half-whole diminished and whole-half diminished—scales. Notably, this two-bar phrase begins with, and resolves to, C. The third and final bar of this section constitutes a brief modulation to F# Lydian. The next pattern follows a verse structure, going from an F#m9 chord to a Am9 chord, then back to an F#m9, then to a Am9 again. Alex Lifeson plays another riff along with a F#m9 chord, where the bassist plays supporting bass notes. The chord structure goes from a F#m9, to a C altered dominant chord. This cycle of riffs repeats twice.
In the next section (C), the guitar provides structure with rhythmic B major and C7 chords, with the bass and drum trading fills at the end of each cycle. After the final, extended drum fill, the guitar plays an oriental scale oriented solo in B Phrygian dominant. The solo climaxes with a guitar run, followed by a synthesizer break. Following this section, the song returns to the arrangement established earlier in the song, after which it ends in a musical run combining bass and drums (with the guitar sustaining its last note from the previous section), a short reprise of the tritone section from the beginning held at the end according to a fermata, and finally, a short run in unison by bass, guitar, and drums to close the song.
[OT] Omval 2014.
Beeblebronx
Aktiv medlem
[OT] Omval 2014.
[OT] Omval 2014.
Gerd är ett nordiskt kvinnonamn som betyder skydd eller möjligen den som tillhör gården.
Gerd är även ett tyskt mansnamn, en förkortning av Gerhard eller en variant av det namn som på svenska vanligen skrivs Gert.
Gerd är ett mycket vanligt namn bland kvinnor mellan 50 och 70 års ålder, ett av de 50 vanligaste. Bland de yngre är namnet just nu[när?] ovanligt. Den 31 december 2005 fanns det totalt 24031 personer i Sverige med namnet, varav 15 152 med det som tilltalsnamn. År 2003 fick 25 svenska flickor namnet, men ingen fick det som tilltalsnamn.
Namnet utgör det andra ledet i namnet Ingegerd.
Gerd är även ett tyskt mansnamn, en förkortning av Gerhard eller en variant av det namn som på svenska vanligen skrivs Gert.
Gerd är ett mycket vanligt namn bland kvinnor mellan 50 och 70 års ålder, ett av de 50 vanligaste. Bland de yngre är namnet just nu[när?] ovanligt. Den 31 december 2005 fanns det totalt 24031 personer i Sverige med namnet, varav 15 152 med det som tilltalsnamn. År 2003 fick 25 svenska flickor namnet, men ingen fick det som tilltalsnamn.
Namnet utgör det andra ledet i namnet Ingegerd.
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