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Buy Chord Hugo 2


Greeting Lieven. Thank you for the great review. I was interested in your opinion between Sony nw-WM1Z vs hugo2.I know they serve different purposes, buy in the end of the day, the sound quality is the only thing that matters. I had a very short experience in both, and thought Sony had better dac, and hugo was close but chord better amplification was confounding my judgment.Hope to see your valuable opinion.




buy chord hugo 2


Download File: https://www.google.com/url?q=https%3A%2F%2Furlcod.com%2F2uiBfM&sa=D&sntz=1&usg=AOvVaw1UWS_2p-DTccNaAfN5tM8X



This time I managed to test it in my speaker system. Unfortunately, the results were similar. It does sound a little more natural than hugo1 with better timing and details, but it still sounds a little flat/bright, even is less so than Hugo1. I thought that it might be the time to test it with the Burson Cable Pro to see if there are any possible impedance mismatches between Hugo2 and my power amp.


Birds were banded using a metal ring #1 of United States Geological Survey (USGS). Morphological measurements, such as weight (g), wing chord (mm), tail length (mm), culmen (mm), beak width (mm) and depth of beak (mm) were taken, A metal ruler of 150 mm model WING15ECO of AVINET was used to measure wing chord and tail length; a vernier caliper model SPI 150 mm of AVINET was utilized for beak measurements; and a compact scale OHAUS (Mod.CS2000, 2000 g capacity and 1 g readability) was used to determine the weight of birds. Once the data was registered, individuals were released in the same place of capture.


Wing chord and tail of the bird is subject to different types of selective pressure. Research on these traits mostly addresses the design of the wing, but certainly, the tail (which acts as a rudder) is also involved in the properties of the flight as speed and maneuverability [23] .


In relation to the wing chord, juveniles generally have shorter and round wings when compared with adult individuals [24] .The long and pointed wings allow increasing the speed of flight, while short round wings allow greater maneuverability flight [9] . These two aspects have consequences of ecological importance. To fly faster decreases the duration of the migratory journey, which means a reduction in energy cost [9] . It is also possible that birds anticipate their arrival in the resting and wintering sites, which represents an advantage over their congeners to occupy the best sites [11] . On the other hand, short and rounded wings facilitate escape from predators, due to the ability to perform evasive maneuvers during flight, thus reducing their mortality rate [9] .


In this study the comparison of the biometric traits of birds of the same species but of different sex, consistently showed that the variables weight, wing chord, tail length, as well as the BCI2 of females collected were lower than the same traits of males (see Table 2). Thus, sexual dimorphism observed in these traits could be used to identify sex of birds.


ABSTRACT: Schoenberg appears to have been among the first authors to reviveRameau's theory of fundamental bass progressions. His categorization of theprogressions in three categories ("strong or ascending,""descending," and "superstrong") can be further systematizedon the basis of a theory of chord substitutions. A study of the use of theprogressions so categorized allows a general description of harmonicallywell-formed tonal phrases. A comparison with the usage of progressions inpre-tonal music evidences important differences.


[1] Contrary to a common prejudice, Rameaus theory of the bassefondamentale is not about chord inversion, but about chord progressions.Rameaus claim is that tonality is ruled by the leading of the fundamentalbass line. From considerations of what he calls the resonance (theproduction of harmonic partials), he deduces not only that progressions by asecond must be forbidden (except in special cases), but also that progressionsdown a fifth or a third are better than those up the same intervals.


[2] This theory has been forcefully rejected in the late 18th and the 19thcenturies, especially in France where theorists argued that it does notcorrespond to the usage of the great masters. The rejection may be linked with aRomantic conception, still vivid today, that views tonality as immanent,precompositional: in both the Viennese (Simon Sechter) and the German (HugoRiemann) theories, the tonal significance of a chord is seen to derive from itsposition in a preexisting, abstract system of hierarchies. Rameau, to thecontrary, had considered that the function of a chord depends on its relation tothe following chord; more specifically, he considered that any chord followed byanother rooted a fifth below was the latters dominant and that any chordfollowed by another rooted a fifth above was the latters subdominant.


[6] This reduces to saying that IV, in the first case, is a substitute for II(with respect to the following V) and II, in the second case, a substitute forIV (with respect to the preceding I). Substitution is a recurrent feature ofharmonic theories from Rameaus double emploi to Riemanns Scheinkonsonanzen.Riemann, however, views the harmonic functions as imbedded in an a priori tonalhierarchy and independent from the context of any particular progression. Thesubstitution, therefore, always is of a secondary degree for a primary one(e.g., the IId degree always is a substitute for the IVth), while ramistconceptions consider the substitutions as reciprocal: IV can stand for II aswell as II for IV. In all cases, the substitutions imply chords a third apart--afact that must be linked, in one way or another, with the parsimony of thetransformation; but the many different justifications proposed for thesubstitutions need not retain us here.


[7] When Schoenberg includes progressions a fourth up and a third down in onecategory, a fourth down and a third up in another, it obviously is because thetwo progressions in each category can be considered substitutions for eachother--or, in other words, because the two progressions belonging in the samecategory differ merely by the substitution of one chord for another. Both V -->>I and V -->> III, for instance, are strongprogressions because I and III can be considered substitutes for each other. Butthe same reasoning could be applied to superstrong progressions as well, asecond up or down, which also can be considered substitutions for progressions afourth up or down. As we saw, IV -> V, a "superstrong"progression, is a substitution for II -->> V,a "strong" progression. The same could be said of V ->VI, a substitution for V -->> I, etc. Thisallows reducing Schoenbergs and Sadais categories to two, each of whichincluding one "principal" and two "substitute" progressions.This view actually returns to Rameaus conception of the dominant andsubdominant functions, so that the categories may be renamed as"dominant" and "subdominant":


[14] Example 5 (MIDI) proposes an alternative presentation of the progressions for the two firstsystems of the same piece. This presentation is more compact than the precedingone and allows notating additional information, but at the expense of a lesseasy reading. The fundamental bass is written on an additional staff--which inthis case allows one to verify that it is almost identical with the real bassor, in other words, that most of the chords are in root position; this fact canbe seen as a justification of a procedure which, otherwise, might seemanachronic. The roots of major chords have been indicated by half-notes, thoseof minor chords by quarter-notes. One will note the very large number of majorchords, again stretching the diatony to its limits. Arrows attached to the notestems indicate the progressions: they point to the right for dominantprogressions, to the left for subdominant progressions; substitutions aredenoted by dotted arrows. This notation allows identifying leading notemovements, which occur whenever a major chord is followed by a full (unsubstituted)progression, or by a substituted dominant progression a tone up with a change ofmode from major to minor. In other cases, a sign could be added to indicateharmonic dissonances and their resolution (no such case occurs in thisexample).


[16] These conceptions are necessary to avoid a circularity in thedetermination of the tonality, in which one cannot determine harmonic functionswithout knowing the key of the piece, nor the key of the piece without knowingwhich chord is its tonic. My graphic representation in Example 2 would not havebeen different if I had labeled the horizontal lines with note names instead ofroman numerals, as in Example 4. I might even argue that it is the shapes of theprogressions, in Example 2, that allow deciding the roman numerals--which isanother way of saying that the progressions determine the tonality. In thisview, the role of obbligato melodic movements is merely to enhance the cadentialeffect of progressions; it is striking that these obbligato movements appear insome way linked with dominant progressions.


[17] As to the change from pre-tonal to tonal harmony, I view it as theresult of a growing awareness both of the particular expressive effect of theflow of dominant progressions (subdominant progressions being perhaps resentedas an interruption of the flow) and of the unifying effect of strictdiatonicism, resulting both in a diminution of the number of roots and in arestriction to leitereigene chords, to chords belonging to the diatonicscale of the key.


First Part Second PartAuch kleine Dinge kannen uns entzUicken, (a) Bedenkt, wie klein ist die Olivenfrucht, (c)Auch kleine Dinge kinnen teuer sein. (b) Und wird um ihre Glte doch gesucht. (c)Bedenkt, wie gem wir uns mit Perlen schmticken; (a) Denkt an die Rose nur, wie klein sie ist, (d)Sie werden schwer bezahlt und sind nur klein. (b) Und duftet doch so lieblich, wie ihr wiBt. (d)" t - - - * e ii " --I - i f *" *- -I -i1icn Il Cici cr sc cl. it hl I ind i d nur klein, Lic ( - li - u-I ihl l dut .:h c-SUcht . __.ii l ihr T- i5t.The musical language in this song is quite traditional compared to the other songs, in thatthe phrases go by a regular four-measure unit and the harmonies show appropriate resolutions.The introduction, prolonging dominant, begins with four sixteenth notes which imply a D-major4chord (IV) with normal resolution to dominant, viij 5 -V 2. This initial subdominant mayforeshadow the important function of the subdominant area in the following songs, especiallySongs no. 3 and no. 4. When the upper voice in the left hand keyboard part descends from theinitial f-sharp to g-sharp (on beat 3 of m. 4), it moves diatonically except for the c-natural note.The two accidentals in m. 3, Cb and D#, make a temporal e-minor key area, which prepares thekey of the next song. The Ca, sometimes shown as B#, reappears every third measure of phrasesthroughout the piece (in mm. 3, 7, 11, 15, 19, and 23). The D#3 in the bass in m. 3 does notresolve to E3 but goes to DLb3. This D#- Db motion appears at the end of the phrases except in thepostlude; however, the D3 in the bass in m. 16 moves to D#3-E3 for an exception, which makes astrong reversal motion, D -D#. As a result, the two accidentals, CM and D#, make out a pattern tothe phrases, and give more unity to the song.Example 7: Introduction in mm. 1-4 of Auch kleine Dinge 041b061a72


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