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Camiguin Island
August weather forecast
Camiguin Island, Philippines
YearJFMAMJJAugustSOND
Weather in August
Average temperature in August
Average rainfall in August
Average rainfall days in August
Average sea temperature in August
Average daylight in August
Average sunshine in August
Average UV index in August
Beautiful Camiguin Island in the Philippines
The last month of the summer, August, is another hot month in Camiguin Island, Philippines, with an average temperature fluctuating between 21°C (69.8°F) and 31°C (87.8°F).
In August, the average high-temperature remains the same as in July - a still hot 31°C (87.8°F). In Camiguin Island, Philippines, the average low-temperature is 21°C (69.8°F).
In Camiguin Island, in August, it is raining for 16 days, with typically 200mm (7.87") of accumulated precipitation. Throughout the year, in Camiguin Island, there are 182 rainfall days, and 2297mm (90.43") of precipitation is accumulated.
In Camiguin Island, in August, the average water temperature is 29°C (84.2°F).
The average length of the day in August in Camiguin Island is 12h and 25min.
On the first day of the month, sunrise is at 5:31 am and sunset at 6:03 pm. On the last day of August, in Camiguin Island, sunrise is at 5:32 am and sunset at 5:50 pm PST.
January, February, June through December, with an average of 6h of sunshine, are months with the least sunshine in Camiguin Island, Philippines.
The months with the highest UV index are February through October, with an average maximum UV index of 12. A UV Index estimate of 11, and higher, represents an extreme health hazard from unsafe exposure to UV radiation for the average person.
Note: The daily maximum UV index of 12 in August interpret into the following advice:
Practice all-important precautions. Light skin people may get burned in less than 5 minutes. The Sun's UV radiation is most powerful between 10 a.m. and 4 p.m. To the extent possible, limit exposure to the direct sun during these hours. A wide-brim hat offers excellent sun protection for the eyes, ears, face, and neck. Sunglasses with UVA and UVB protection significantly reduce eye damage from sun exposure. Tightly woven, loose-fitting clothes provide additional protection from the Sun. A broad-spectrum sunscreen of SPF 30+ should be liberally applied and re-applied every two hours, and immediately after an outdoor workout or a swim. Beware! The strength of the UV rays is significantly increased by the reflection of the water and sand.
What is the temperature in August in Camiguin Island?
The average high-temperature, in August, in Camiguin Island, is 31°C (87.8°F), while the average low-temperature is 21°C (69.8°F).
How much does it rain in Camiguin Island in August?
In Camiguin Island, during August, the rain falls for 16 days and regularly aggregates up to 200mm (7.87") of precipitation.
What is the sea water temperature in August in Camiguin Island?
In Camiguin Island, in August, the average water temperature is 29°C (84.2°F). For any water activity, surface water temperatures between 25°C (77°F) and 29°C (84.2°F) are considered as excellent and extremely pleasant for lengthened periods.
What is the average length of the day in August in Camiguin Island?
In August, the average day length is 12h and 25min.
When is the sunrise / sunset in August in Camiguin Island?
In August, on the first day of the month, sunrise is at 5:31 am and sunset at 6:03 pm. On the last day of the month, in Camiguin Island, sunrise is at 5:32 am and sunset at 5:50 pm PST.
What is the month with the least sunshine in Camiguin Island?
January, February, June through December, with an average of 6h of sunshine, are months with the least sunshine in Camiguin Island.
How long on average sun shines in August in Camiguin Island?
In August, the average sunshine duration in Camiguin Island, Philippines, is 6h.
What is the month with the highest UV index in Camiguin Island?
February through October, with an average maximum UV index of 12, are months with the highest UV index in Camiguin Island, Philippines.
What is the UV index reading in August in Camiguin Island?
In Camiguin Island, the average daily maximum UV index in August is 12. A UV Index estimate of 11, and higher, represents an excessive health risk from unsafe exposure to Sun's UV rays.
Average high temperature in August: 31°C
The warmest month (with the highest average high temperature) is May (32°C).
The months with the lowest average high temperature are January, February and December (29°C).
Average low temperature in August: 21°C
The months with the highest average low temperature are May and June (22°C).
The coldest months (with the lowest average low temperature) are January, February, March and December (20°C).
Average rainfall in August: 200mm
The wettest month (with the highest rainfall) is January (244mm).
The driest month (with the least rainfall) is April (109mm).
Average rainfall days in August: 16 days
The month with the highest number of rainy days is October (18 days).
The month with the least rainy days is April (10 days).
Average sea temperature in August: 29°C
The best month for swimming (with the highest average sea temperature) is June (30°C).
The coldest months (with the lowest average sea temperature) are January and February (27°C).
Average daylight in August /
Average daylight in August: 12h and 25min
The month with the shortest days is December (Average daylight: 11h and 36min).
Average sunshine in August: 6h
The month with the most sunshine is April (Average sunshine: 8h).
The months with the least sunshine are January, February, June, July, August, September, October, November and December (Average sunshine: 6h).
Average UV index in August: 12
The months with the highest UV index are February, March, April, May, June, July, August, September and October (UV index 12).
The month with the lowest UV index is December (UV index 10).
Camiguin Island, Philippines - Summer forecast. August weather forecast. Average monthly weather with temperature, pressure, humidity, precipitation, wind, daylight, sunshine, visibility, and UV index data. [1876148]


Most scuba diving is done on compressed air. However, there are also different gas blends that can be used when scuba diving. When using these gases, the ability to analyse them is so important when planning a dive. So here we cover the gases, the analysers used, how to correctly use the analysers, plus how to care for the oxygen sensors used in the analysers.
Why is it so important to analyse your breathing gas? Simply, it can kill you if it's wrong. If the oxygen content is LOWER than the diver had expected, they can end up with unexpected and unknown decompression obligations. If the oxygen content is HIGHER than expected there is the even greater risk of Oxygen Toxicity which can cause severe convulsions (not a good situation underwater).
The most commonly used gas blend for sport or recreational diving is Nitrox up to 40% oxygen. Technical divers often use Nitrox gas mixes with higher level of oxygen up to 100% to accelerate decompression. More advanced technical divers use Trimix so as to be able to dive safely to depths greater than 60 metres.
Nitrox, often referred to as 'enriched air nitrox' or 'EANx', is a gas mix composed of nitrogen and oxygen, and can be identified by the green and yellow markings on gas canisters.
As nitrox contains more oxygen than is normally in the air of the atmosphere (20.9%), it allows divers to dive underwater for longer, without the need for decompression stops, and reduces the risk of decompression illness which is caused by an excess of nitrogen. However, there are risks with diving with nitrox, and special training is required before using it on a dive. Oxygen levels need to be monitored in order to avoid oxygen toxicity, which can have an effect on the nervous system.
It is essential to analyse your nitrox gas before using it, in order to ensure the gas mix is right, and to allow you to plan the depth, time and decompression stages during your dive.
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Analox offer the O2EII Pro nitrox analyser which allows divers to check the gas mix directly from the gas canister, or while the diver is connected to their regulator. Small, lightweight and rugged, the O2EII Pro can be taken anywhere.
Trimix consists of oxygen, nitrogen and an inert gas, normally helium. Adding an inert gas to the mix allows divers to dive deeper than they could with nitrox (with less risk of becoming narced) and is often used in technical (tec / tech) diving. In 2001, John Bennett became the first diver to dive to 305 metres (1,000 feet) using trimix.
The advantage of trimix is that it can be custom-blended to suit each dive, allowing the diver to precisely control the levels of oxygen they receive.
The disadvantages of trimix is that it can be expensive (especially if you use helium as it is a very scarce gas) and custom-blending gases can be hard-work. Helium can also make divers feel colder than normal (it has a high thermal conductivity) and can cause a condition known as 'high pressure nervous syndrome' if not used correctly.
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The Divesoft trimix analyser can check the levels of gas in your mix, giving you peace of mind when planning a technical dive. Lightweight, portable and comprehensive, it takes readings directly from the tank. This kit includes a professional flow limiter to ensure you obtain accurate readings.
Heliox is a mixture of helium and oxygen and is normally used in saturation diving and deep diving. In saturation diving, the helium can make the divers sound very high pitched and they may need to have their speech 'de-scrambled' on the surface so that people can understand them.
Argox (argon and oxygen) and hydrox (hydrogen and oxygen) can also theoretically be used, but heliox is most frequently used when diving as it is less dangerous.
Heliox is even more expensive than trimix as the concentration of helium is higher.
Did you know that heliox is also used in medicine? The mix of helium and oxygen reduces airflow resistance and can be used to help people with lung disease breathe easier.
Do you always assume that the breathing gas in your cylinder is safe? If so, you could be making a mistake that could prove fatal. All divers should take a moment to analyse the gas in their cylinders before each and every dive.
Who Bears Responsibility for Gas Analysis?
You might be wondering who bears the responsibility for gas analysis. If you're not qualified to analyse your gas or don't know how, you can easily purchase the necessary tools for gas analysis and learn how to use them. If you are qualified to dive with mixed gases, you probably know how — and if you do, you should take personal responsibility for your safety by analysing your own gas.
The only exception is if you dive with a team and all of you have determined how gas will be analysed prior to dives you take together. When gas analysis and confirmation is a team project rather than an individual responsibility, there is a much lower margin for error.
Analysing the gas in your diving cylinders — including ones you might or might not use — is an important task that should never be omitted. To be on the safe side, you should run the process twice — once after cylinders have been filled, and again during pre-dive checks. The whole process takes just a few minutes, and once it's become habit, you won't even notice the time it takes.
Analyse every cylinder that's going underwater with you, whether you think it's filled with air, oxygen, nitrox, trimix, or some other gas blend.
Gas analysis isn't optional — instead, it's a necessary part of diving. Your life — and possibly the lives of those who dive with you — depends on it.
We know people make mistakes, and that's why we have safety procedures in diving. These procedures help us catch the little mistakes before they create catastrophic emergencies. When diving nitrox or trimix, analyse every tank before every dive without exception. It could save your life.
While the technology inside may seem complicated, modern analysers are incredibly easy to use. Most feature a simple interface, a couple of buttons, and, of course, the inlet which can pull gas from the BC or directly from the tank. Make sure to have a few batteries on-hand or charge your device ahead of time and you'll be ready to get started!
Calibrate — This step is important. You should be calibrating the analyser for each use, and it generally only takes a few moments to do so.
Open the valve on the tank slowly — You want a slow steady stream of gas so that you can get a consistent reading.
Get your reading — Cover the open valve with the corresponding intake on the analyser and leave it on for a few seconds. You'll know you're within a few tenths of your accurate reading when the analyser begins to slow and stop changing numbers.
Make sure the level is where you want it — Most recreational divers use Air, which tends to be about 21% oxygen. Sport diving Nitrox mixtures can range from 22% to 40%. Tech divers may be using 40% to 100% oxygen. Check to ensure whether your reading matches what the gas mixture is supposed to be.
All Nitrox and Trimix analysers use oxyen sensor cells to measure the concentration of oxygen in the gas being analysed.
Always use the correct replacement oxygen sensor for your analyser. We are aware that there are often a number of 'alternative' cells on the market, some of which are cheaper, but none are guaranteed to have been designed to mate correctly with your analyser. This means it might not fit properly, the readings you obtain may be dubious, and the cell may not last as long as a genuine cell.
Most analyser manufactuers specify an expected life span for the sensors they use. It may be 4 to 5 years, or shorter, or longer. We strongly recommend that the sensors be replaced regularly based on the specified life span.
Analysing oxygen requires the analyser first be calibrated and that calibration requires a 'known' gas. The gas most often used for calibration is Air, commonly described as 20.95% Oxygen. However, it's really not always 21%, in fact the Compressed Gas Association says Air can contain from 19.0% to 23.5% Oxygen and still be considered Air.
Beyond the variation in actual gas composition, several other factors should be considered. Environmental factors such as barometric pressure and humidity, affected by both altitude and weather, will affect the calibration. Some inexpensive manually calibrated analysers provide compensation charts to compute the calibration target value. The most sophisticated analysers will automatically measure several environmental factors to determine the target value.
Another source of variation is that all galvanic oxygen sensors are never perfectly linear across the entire range, so use a calibration gas that is reasonably similar to your target. For example, it's best to analyse 80% oxygen by calibrating with pure oxygen rather than air. Linearity is greatly affected by temperature so oxygen analysers or the sensor itself contain circuitry to compensate for temperature. However, temperature compensation is not perfect and sudden changes in temperature can result in significant variations so try to perform your calibration and analysis at stable room temperature whenever possible.
Perhaps the most common source of calibration error is performing the calibration with still ambient air, then performing the actual analysis on flowing gas. If you are sampling directly from the tank and manually controlling flow with the valve, rather than using a flow limiter, the calibration is even more error prone.
As a general rule we recommend first calibrating with compressed Air from a scuba tank before measuring sport Nitrox mixtures up to 40% and, whenever possible, calibrating with pure oxygen when measuring accelerated decompression Nitrox mixtures of 50% or more. Just assuming Air is always 21% for manual calibration can result in pure oxygen analysing at something like 103% which is nonsense. Given all the sources for error, our long experience is that most divers obtain a result that is slightly higher than actual because of calibration error and excessive flow. Sometimes we see a result that is lower than actual because of poor sampling technique.
Given that digital depth gauges are typically only accurate within 1 to 2 metres (3 to 6 feet), and analogue depth gauges can be even less accurate, obsessing over obtaining an exact analysis of the breathing gas is unnecessary. We've even seen multiple bottom timers that varied from each other by a minute or two over the course of a single dive. The reality is that for the purposes of measuring sport Nitrox mixtures the tenths of a percent value is just noise. Many experienced sport Nitrox blenders will truncate their analysis result rather than round the tenths when labeling cylinders or programming dive computers. It's not that critical Ᾱ 30.8% and 33.3% are the same thing for the purposes of sport diving: 32% Nitrox.
New analyser owners often are surprised to discover their own analysis of Nitrox fills does not match what they earlier saw or were told in the local dive shop. Variations of 1% are to be expected and are acceptable, considering the enormous number of variables involved. However, significantly more than plus or minus 1% difference from the expected result deserves further investigation.
For technical diving, we don't recommend using the hand held analysers for blending applications or using their results for calculating decompression. Please use a technical grade analyzer that has built-in compensation for barometric pressure, moisture and the effect of inert gases like helium. You must also use a measured 2 lpm flow and performing frequent calibration using precisely known gas is a necessity. Because of the cumulative nature of inherent inaccuracies with instrumentation we use in diving, it's always best practice to be conservative in managing decompression and oxygen exposures.
The oxygen sensors in analysers and rebreathers are complex devices, but fundamentally it's helpful to think of them as oxygen powered fuel cells. They operate on a chemical reaction that produces a weak electrical current that can be measured in order to estimate the pressure of oxygen present.
Thus an oxygen sensor is an oxygen powered generator consisting of a lead anode, a gold cathode and a liquid electrolyte, typically mostly water with potassium hydroxide. A great many environmental factors affect this chemical reaction, some of the most important being pressure, temperature, humidity and of course the presence of oxygen. However, the factors that also affect the chemical reaction are those factors inherent in the manufacturing process itself such as the purity and precise amounts of the chemicals. The chemical reaction began the moment the cell was assembled, continued at a slow pace while the new cell sat in the sealed bag, and vigorously accelerates when the bag is opened and the cell is exposed to normal atmosphere. Over time, enough of the chemicals are consumed by the reaction and the oxygen sensor becomes unreliable.
With the use of oxygen sensors in analysers, we are almost always analysing a known gas, i.e. we have an expectation regarding what's in the cylinder and are using the analyser to confirm it. Keep in mind, when the analysis of the contents varies from expected by more than 1% this means you do NOT know what's in the cylinder and must take appropriate action. Oh, and don't use a sensor that's been mishandled (i.e. vacuum packed, frozen, refrigerated, stored in inert gas, older than 36 months, over heated, desiccated, etc) to determine the oxygen content of an unknown gas, ever.
What about using some kind of unproven life extension technique on oxygen sensors in cylinder contents analysers? (That includes 'sensor saver caps' and similar devices.) Well, recall the previous remarks about the huge number of factors that affect sensors? Some factors have nothing to do with environmental exposures, they have to do with variations in the manufacturing process.
Two non-environmental factors are the purity of the lead anode and the exact composition of electrolyte; these vary significantly from batch to batch and sensor to sensor. They vary so much that the sensors have a little electronic circuit in them that the factory calibrates in each sensor to produce the final target output mv range. These factors have far more effect on the life of the sensor than any dubious benefit from after market sensor life extension techniques. Just because someone used a life extension technique on the sensor and that sensor 'lasted longer' is meaningless. There are too many factors at work to have any chance of knowing what effect, if any, the life extension technique had on the life of the sensor. To be frank, a risky practice.
Heat has a major impact on the life of oxygen sensors because sensor life can be significantly shortened by excessive exposure to heat. Contents analysers should not be left out in the sun of a boat deck or in a hot car. Treat your contents analyser with respect, keep it at temperatures you are comfortable in (if you are too hot or too cold, so are the sensors).
Another factor that can significantly affect sensor life is the length of time the oxygen sensor is exposed to elevated levels of oxygen. This is not usually a concern for oxygen sensors used in diving gas analysers, more for those used with rebreathers.
Carbon Dioxide (CO2) will degrade oxygen sensor function as a result of formation of lead carbonate crystals on the cathode which can permanently degrade the sensor output.
Vacuum pack your sensor? No. It could rupture the membrane or other seals, and might create bubbles in the electrolyte.
Freeze your sensor? One manufacturer states freezing a sensor will not, 'in general', damage a sensor but this is not specifically true for diving sensors because of the hydrophobic membrane. Even that manufacturer states freezing will void the warranty, so freezing is certainly not best practice. Regardless, there is no reason to think that freezing will extend the life of the sensor.
Refrigerate your sensor? Depends on the brand, but no for the Teledyne brand (10C min) and no would be best practice for all brands. Refrigeration will not significantly extend the life of sensors.
Store your sensor in inert gas? Best practice would be no. Repeatedly flushing the sensor with inert gas has a risk of affecting moisture content (i.e. drying out) of sensor. Also, some concerns about 'wake-up time' after storage.
Seal it in bag or with cap? Reducing oxygen exposure time might extend the life slightly. However, it probably would not make a significant difference in practice. Remember, some components are aging regardless of being deprived of oxygen, which is why even new, unopened sensors have a shelf life.
So what is the shelf life of a new, unopened sensor? The manufacturers specify the shelf life for most types of sensors at 12 or 24 months from date of manufacture, and that's reasonable for sensors intended for use in analysers. We do NOT recommend that you keep a 'backup' sensor. If you feel you must keep a spare sensor for immediate availability, such as during dive travel, then it should be discarded no later than 18 months after date of manufacture, regardless of whether it was used or not.
One final thought, extending the life of an oxygen analyser sensor is a 'risk vs. reward' decision. Typical life of an analyser sensor is somewhere between 24 and 48 months. If you assume the after market processes adds one year to the life, you've saved a only a few dollars and incurred an unknown but significant risk.
Nitrox cylindersClearly label anything that isn't air. If the MOD is less than the maximum possible depth of the dive (think deco cylinders), make sure the MOD stands out where not only you can see it, so can your buddies. Make it obvious to everyone if you are using the wrong cylinder at the wrong depth.
For our full range of analysers, please see Helium and Nitrox Analysers.


36 adjustable pockets are perfect for the office organizer station or in the mail center as a stand alone sorter. Sorter shelves adjust in 1/2" increments. Lower metal front cabinet raises sorters to a comfortable working height. Durable all-steel construction.


IIFT Admit Card 2018 (आईआईएफटी प्रवेश पत्र): The Indian Institute of Foreign Trade is going to release its admit card for the students who have successfully applied for the application form. The students can download IIFT Hall Ticket 2018 from 15th November. The students need to collect the permission letter of the exam before the exam because without this letter the candidates cannot participate in the examination. The IIFT 2018 Call Letter will be provided on the official website of IIFT Delhi. The IIFT 2018 Hall Ticket will be provided in November month before 15 days the date of the exam.
The students those are searching online for the Admit card of IIFT MBA 2018 they can get here. The aspirants need to collect the permission letter of the exam before the exam date because with call letter the students are not allowed to appear in the exam. The IIFT MBA Hall Ticket of the exam has the following info of the examination and the student like- Applicant name, DOB of Applicant, Father's Name of Applicant, Applicant photo and signature, name of exam, date of exam, day of exam, time of exam, exam center address, Examination instructions, etc.
Visit the official website of IIFT Delhi i.e. iift.edu/.
Search for the "IIFT Admit Card 2018" link on the home page and open it.
Fill the asked info in the provided boxes like the name of the student and roll no.
Keep safe and don't forget to carry it at the exam centre.
Candidates need to read all instructions of the exam and follow them at the exam centre otherwise, you may stop to appear in the exam. Students also need to carry a valid identity proof along with the IIFT Call Letter of the exam at exam centre because there may be the identity verification of the candidates and it will be just before the date of examination.
Students need to collect the permission letter of the exam form the official website of IIFT before the date of the exam. The IIFT Admit Card 2018 will be provided online in the November month 2 weeks before the date of the exam. If you have any problem during Download the Call letter for IIFT Entrance Exam 2018 then you can send us your query by commenting in the below-provided comment box we will reply you as soon as possible.


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What Other Condition Might Dapagliflozin Prevent? How About Afib?
Mary Caffrey
Competing trials are under way that may show that the benefits of SGLT2 inhibitors in heart failure are a class effect.
Sodium glucose cotransporter 2 (SGLT2) inhibitors, first approved to treat type 2 diabetes (T2D), are being investigated to reduce the risk of heart failure, renal decline, and possibly obesity.
Dapagliflozin, sold as Farxiga by AstraZeneca, has received an indication for patients with T2D and heart failure, and the FDA has granted fast-track designation to reduce the risk of cardiovascular death and worsening of heart failure with both forms of the condition—reduced and preserved ejection fraction.
Now, researchers have taken a fresh look at data from the cardiovascular outcomes trial DECLARE-TIMI 58, which first reported in November 2018 that dapagliflozin was particularly effective in reducing the risk of hospitalization for heart failure in patients with reduced ejection fraction. The new results show that the drug may also reduce the risk of atrial fibrillation and atrial flutter, which are more common in patients who have T2D.
Competing trials are under way that may show that the benefits of SGLT2 inhibitors in heart failure are a class effect. So far, the benefits were best seen in the DAPA HF trial last fall, which showed that dapagliflozin's heart failure benefits occurred for patients with and without diabetes.
In findings reported in Circulation, the official journal of the American Heart Association, researchers said dapagliflozin reduced the risk of these events by 19%, or 7.8 events vs 9.6 per 1000 patient-years (hazard ratio, 0.81; 95% CI, 0.68-0.95; P = .009). The reduction was consistent whether or not patients had a history of atrial fibrillation or flutter at baseline and whether or not they had preexisting cardiovascular disease or heart failure. There were also no differences by gender, body mass index, blood pressure, renal status, or blood sugar level.
Dapagliflozin reduced the total number of events, first and recurrent (337 vs 442 among the population of 17,160 patients), for an incidence rate ratio of 0.77 (95% CI, 0.64-0.92; P = .005).
The study team, led by Thomas A. Zelniker, MD, MSc, said more work is needed to confirm the findings.
Zelniker TA, Bonaca MP, Furtado R, et al. Effect of dapagliflozin on atrial fibrillation in patients with type 2 diabetes mellitus: insights from the DECLARE-TIMI 58 trial [published January 27, 2020]. Circulation. https://doi.org/10.1161/CIRCULATIONAHA.119.044183.

redpajama_set_name: RedPajamaCommonCrawl


Swedish premium car maker Saab is well known for its prolific high-torque, turbo-charged performance engines, and robust, aircraft-inspired engineering quality. The discrete Swedish design and individuality of the brand and its products are also key attractions for Saab aficionados.
As well as enjoying the excellence of their regular Saab cars, British Saab enthusiasts can now tailor their current 9-3 and 9-5 models with an extensive range of performance-enhancing engine, chassis and styling modifications, developed by Saab in association with Hirsch Performance AG of Switzerland.
Following a gruelling programme of quality evaluation, Hirsch Performance is now available in the UK, sold through Saab's network of 90+ dealers nationwide. Hirsch Performance AG is the only company to receive full approval from Saab to upgrade its vehicles and transform them into the ultimate individual driving experience.
From the interior to the brakes, the engine to the chassis, Saab's Hirsch Performance offers an extensive range of upgrades that enable the drivers of current Saab 9-3 and 9-5 models to personalise, and enhance, the performance and appearance of their car, without affecting the warranty.
Externally, Hirsch upgrades to Saab's legendary aerodynamics are subtle but decisive. The Hirsch integrated front bumper and spoiler have faced rigorous testing and proved that they actually generate greater downforce and minimise drag at high speeds. Internally, a selection of upgrades range from a leather-covered instrument panel to aluminium racing-style pedals, drilled out to save weight and coated with non-slip rubber for enhanced driver control.
In terms of power, the Saab 9-3 and 9-5 are recognised leaders in low-end torque, but with a Hirsch Performance engine upgrade, they can be taken to another level. After engine reprogramming the Saab 9-3 1.8t engine, for example, can generate 195 bhp and 310 Nm of torque (against the standard 150 bhp and 240 Nm at 2,500 rpm). The 9-3 2.0 HOT Aero goes even further with a 230bhp or 252 bhp upgrade. For the larger Saab 9-5, a Hirsch upgrade of the 150 bhp 2.0t engine can generate 210 bhp, whilst the 185 bhp 2.3t engine can reach 220 bhp. The already rapid 250 bhp Saab 9-5 Aero is even more agile with the 280bhp Hirsch Performance upgrade, and power can be increased to over 300 bhp to give this model unexpected reserves of power.
Saab's Hirsch Performance upgrades ensure that any modified model has even greater control with firm, dynamic suspension. Hirsch wheel and brake upgrades offer further assurance. Alloy wheels in 17", 18" or 19" that are 50 per cent stronger and 20 per cent lighter than conventional cast wheels aid grip, cornering, and appearance. Hirsch Performance enhanced braking also achieves improved stopping power - the brakes ensuring that even at speeds of 62 mph, the Saab can stop in just 2.7 seconds.
Saab's Hirsch Performance is available as a range of after-fit accessories, offered by all British Saab dealers, to fit the current generation of Saab 9-3 and 9-5 models, both automatic and manual, petrol and diesel.


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What Do You Think About Italy?
What do you think about Italy? It is the greatest place on Earth, a little weird, or something else? Take this quiz to find out your true feelings about Italy.
What was your favorite subject in school?
Which one of these foods are your favorite?
How many lanuages do you speak?
I am bilingual
Have you ever been out of your native country?
I travel all of the time
I've traveled once or twice
How do you feel when people from other countries come to your country?
It's fun
It's annoying
What is your favorite type of muesum?
I don't like museums
Do you believe in cultural stereotpes?
Which of these are your favorite pizza topping?
Do you think some countries are more romantic than others?
Yes, some countries bring out the romance in people
No, it's the people that matter, not the country
When was the last time you finished a book?
Over a month but less than a year
More than a year ago
You know a little but about Italy, but not enough to really know what to think about it. It's a complicated place with a strange language, beautiful places, and more pizza than anyone could ever eat. As to what it all means? You aren't really sure.
All of the momunments, beautiful buildings, and sculptures make Italy a beautiful place to visit. The scenery of this place is something worth seeing, that's for sure.
It Is Beautiful
Italy has a long history, and it shows in the buildings that stand now, the ruins that show where old monuments once stood, and in the artwork in the meuseams and in the streets. There is so much more to learn about this country than what is shown in the history books.
The Culture Is Amazing
Pizza, pasta, and hundreds of other meals make Italy one of the best tasting places to visit. A vacation to Italy isn't just a vacation for your body, it's a vacation for your tastebuds too!
The Food Is To Die For
Sure, Italy is a beautiful place with great food, but none of that really appeals to you. You'd rather stay at home than visit this country. What's one country from another anyway? Itlay isn't for you.
It's Overrated
What Song Tells The Story Of Your Life?
Are You More Mary Ann Or Ginger?
What Should You Name Your Baby Girl?
What Is The One Truth In Life?
Which Color Plays Important Role In Your Life?


The Jean and Alexander Heard Libraries offer a rich schedule of rotating exhibitions within the Central and Special Collections Libraries that showcase primary resources, artifacts, and book collections, while enhancing the cultural and intellectual life of the university campus and community at large. All exhibits are free and open to the public. The libraries are committed to presenting high-quality displays that support teaching and research on campus and reflect strengths of the Special Collections Library.
The exhibitions calendar is planned two years out, with the next available opening in Spring 2020. To propose an exhibition, please use the Library's proposal form (forthcoming) or send an email to the Special Collections Library. Feedback about our exhibitions program is always welcome.
Kirkland Hall is the iconic symbol of Vanderbilt University. First known as "Main Building," it stood as the central building on a 74-acre campus when dedicated in October, 1875, and initially housed all the university's classrooms and laboratories in addition to a chapel, a museum and the library.
After a devastating fire in 1905, the two-towered design was rebuilt in an Italianate style with a single 170-foot tower. The reconstruction began immediately, and donations poured in from across Nashville to help with the effort. In just a few years, out of the ashes came a new icon for Vanderbilt. The building – which had been called Main Building, Old Main, University Hall and College Hall – was renamed Kirkland Hall in honor of Vanderbilt's second chancellor, James Hampton Kirkland, who presided over Vanderbilt for 44 years. Both the man and the building remain central to Vanderbilt's history.
Half of this exhibit, The Iconoclastic Marshall Chapman, features letters, photographs, posters, song lyrics, tour memorabilia, and other artifacts highlighting Marshall Chapman's life and career as a working musician, songwriter, author, and more.
The rest of this exhibit focuses on Vanderbilt University alumna Mildred Haun. Growing up in Cocke County, Tennessee, she absorbed the culture and music of the southern Appalachian mountains. She was encouraged to write by The Fugitives writers, John Crowe Ransom and Donald Davidson and is known for her 1940 book The Hawk's Done Gone.
Have you ever wondered why the iris is featured on Vanderbilt's graduation mace or heard Nashville called "Iris City"? The iris is our official state flower, but at Vanderbilt and Peabody, the iris carries a deeper connection: it was grown and hybridized by many historic figures, from Chancellor James Kirkland to poet Jesse Wills. At Peabody, hundreds of irises were planted in the first half of the 20th century and in a time-honored tradition, graduates of Peabody received an iris rhizome as they received their diplomas. This exhibition examines the role of the flower Virgil said "was sent from above" and its connection to Vanderbilt history.
This exhibition will be curated by a cohort of Buchanan Library Fellows and their librarian mentors.
University life in the 19th century was quite different from today's modern campus. Every aspect of students' lives was highly regimented in order to shape the young men into productive members of society, and rules and regulations permeated every aspect of student life. Students learned by recitation and their detailed notes reflect close attention in daily classes from Latin composition to spherical geometry. This semester, two Buchanan Fellows examined how students lived, studied, and had fun in 19th-century Nashville. They visited the old South Campus with architectural historian Robbie Jones and learned about other educational initiatives with Dr. Mary Ellen Pethel.
No matter the story—from the catastrophic to the mundane—reporters must find a way to communicate the news that is engaging and fresh. Journalists are called to uncover the news with speed, accuracy and style. Since the early days of news reporting, artists have worked alongside correspondents, often risking their lives. Because of the efforts of these men and women, our understanding of world events has been enriched and bettered.
In today's busy world, newspapers, television and the Internet are where most Americans get their news. But prior to the 1960s, when televisions became affordable to the average family, newspapers and radio were the ways that news was reported. This exhibit gives a glimpse into the ways that news has been delivered in the course of American history, from front page news, editorials and photographs to political cartoons, and includes works by Tom Little, Charles Bissell, Grantland Rice, Fred Russell, and John "Jack" F. Corn.
Vanderbilt's Television News Archive is the most extensive and complete archive of television news in the world. Vanderbilt has been recording the national news continuously since August 5th, 1968, initially capturing the daily broadcasts of ABC, CBS and NBC, and later including daily broadcasts from CNN and Fox News. The Archive's collection also includes live coverage of numerous major news events, presidential speeches, press conferences, and other public appearances. These reports cover the news as it was being made and reflect our global history in a way that is immediate and powerful. This exhibit shares selected excerpts from the thousands of video news segments contained in the archive. The exhibit is updated annually to highlight the top news stories of the year that were broadcast 50, 40, 30, 20 and 10 years back from the current year.
This exhibition is curated by a cohort of Buchanan Library Fellows and their librarian mentors.
Vanderbilt's Libraries are proud to be the place of record of journalists and newspaper editors whose actions broke news of national importance. From Jim Squires' decision to publish the Pentagon Papers in the Chicago Tribune to Jack Corn's photographic coverage of strip mining in Appalachia, news reporters and their editors carry a responsibility to provide unbiased, timely news. Today, that duty could not be more relevant or important. This fall semester fellowship will examine key figures in the world of journalism whose papers are housed in Vanderbilt University's Special Collections. Fellows will each work collaboratively to produce an exhibition and a documentary short-film, each telling the story of a journalist and the contributions of their life and work.
Newspapers have been the daily backdrop to public life throughout the history of the United States, functioning as the Fourth Estate of American democracy. By the beginning of the twentieth century, newspapers were read in nearly every home in the country, serving as a report of the day's events, a calendar for the community, and a platform for political engagement.
Nashville newspapers have their own unique history. From the divide of the Democratic and Republican parties, two primary newspapers emerged: The Tennessean and the Nashville Banner. Although the city's liberal and conservative papers shared a building, printing press, and even some staff through a joint operating agreement signed in 1937, they engaged in ideological competition in print for decades. This exhibit examines the lifecycle of a news story, from its initial reporting and discovery, to the meticulous editorial work to make it fit to print, and finally to the printing and distribution across the state. The exhibit also looks at how these stories played out on the pages of the rival Nashville newspapers, up through the demise of the Nashville Banner in 1998.
Throughout the 20th century, African American writers consistently gave voice to their experiences through powerful poetry and prose. From the bold voices that came out of the Harlem Renaissance, the courageous words from the Civil Rights movement, to the unapologetic stories of everyday strife, this outpouring of African American literary talent has left a lasting impact on the landscape of American literature.
In a climate of renewed attention on racial disparities and systematic violence against African Americans, this exhibition seeks to shine a light on the pivotal role African American authors have had on the American literary canon over the past century, by celebrating the works of important 20th century African American writers. Their achievements continue to resonate with readers today, in the United States and throughout the world.
This exhibition will be curated by a cohort of Buchanan Library Fellows and their faculty mentor.
This summer semester fellowship examined the history of women at Vanderbilt from the university's nineteenth-century beginnings to the present day. Student fellows considered women's experiences as students, faculty, and staff at Vanderbilt, which only began to admit women and men undergraduates in equal numbers in the 1980s. The fellowship also explored the history of the Margaret Cuninggim Women's Center, which is celebrating its 40th anniversary in 2018. Students learned about exhibition and curatorial techniques while engaging with the library's Special Collections materials. Students worked to produce this exhibition focusing on different aspects of women's experiences at Vanderbilt.
For centuries, silver was considered a luxury reserved only for the elite, and master silversmiths came to be revered for the remarkable craftsmanship and design in their work. But silver was more than just riches: it was also a symbolic embodiment of affluence, taste and education.
The history of silver at Vanderbilt University is rooted in the great American fortune of founder Cornelius Vanderbilt, who rose to wealth and social prominence from the railroad and shipping industries. This exhibition shares dazzling examples of silver that celebrated his achievements and made way for a tradition of using silver to mark important ceremonies and award deserving recipients at the university. The selection of silver on display draws up memorable moments in the university's history, aims to introduce the vast art of silver making, and in many cases, comes to us directly from the Vanderbilt family.
In the early months of 1917, an influx of students came to Vanderbilt to enter the Student Army Training Corps (S.A.T.C.) aiming to join the war effort. With their enrollment came much-needed funding for campus infrastructure, fueling a building boom that more than doubled the size of campus by the 1940s under Chancellor James Kirkland.
After the bombing of Pearl Harbor, the draft pulled a vast majority of students and faculty to the battlefield, but a sharp rise in women students stabilized campus. The demand for medical professionals pushed Vanderbilt to offer accelerated degrees that ran year-round, contributing graduates to the 300th General Hospital Unit that saved thousands of lives performing cutting edge medical techniques and surgeries. Reflecting on the 100-year anniversary of the armistice that ended WWI, this exhibition looks back on the impact that two world wars had on campus from the years 1917-1945.
Often called the cradle of civilization, the ancient Near East witnessed the emergence of remarkable cultures from the fourth through the first millennia BCE. From those cultures surfaced novel systems of writing that addressed the range of lived experience, artistic and literary expression, and history and politics. While plentiful but not ubiquitous, clay became the medium for communication in inscriptions, in addition to its role as an essential material for construction, figurines and utensils. The Vanderbilt Divinity Library's Cultures in Clay: The Shaping of Ancient Near East Civilizations exhibit showcases original artifacts from this period, as well as photographs and descriptions, to provide an overview of these civilizations and their contributions to our understanding of the ancient Near East.
Established in 1873, the rich beginning of Vanderbilt University can be understood through letters from its founders, on display in the Special Collections Library. Correspondence between Cornelius Vanderbilt and Bishop Holland N. McTyeire highlight some of the earliest plans for the campus, from the construction of the first buildings to the planting of the very first trees, some of which are still standing. Their writings also document the university's name change from "Central University of the Methodist Episcopal Church South" to "Vanderbilt University." Historic photographs, student publications, and treasures from the first cohorts in Greek letter fraternities, sports and athletic teams, and various clubs show how much is shared between the centuries of students who have stood on Vanderbilt's grounds, and how much has changed since the first campus map from 1897.
This exhibition was curated by a cohort of Buchanan Library Fellows and their librarian mentors.
Propaganda uses words and images to convey a message. Its persuasive nature makes it powerful. Historically, propaganda has been able to control what we think; we want to reckon with this power and expose its mechanisms, objectives, and forms in different contexts and purposes.
Instant access to images and media means we need to question what we see. This is evident with the emergence of terms like "fake news" and "post-truth." Though propaganda is inescapable, by understanding its nuances, we can better identify its impact on our behavior. Our goal is to lift off the facade; to reveal the multifaceted functions of propaganda. This exhibit explores the diversity of propaganda in varied forms. Are you under the influence?
From George Washington to Barack Obama, America's past commanders in chief have provided domestic and international leadership during world wars, political unrest and the struggle for basic human rights. Their personal lives have been shaped by great joy and heartbreak, deep-rooted conflict and public scrutiny. Along the way, biographers and journalists have documented their every move and attempted to distill what it means to be an American president.
This exhibition draws on biographies from the L. Hall Hardaway, Jr. Family Presidential Book Collection and rare documents from the James G. Stahlman Autograph Collection to reflect on 230 years of executive leadership from the White House.
The library's distinctive collections are areas of particular strength that set Vanderbilt apart from other research libraries. These include items of great rarity, historic value, and even one-of-a-kind treasures. These collections stimulate teaching and scholarship, draw up memories, and inspire new knowledge. In this exhibition, highlights from these distinctive collections hope to inform and excite the campus and wider community about the robust materials we have to offer in these domains.
From Civil War surgical instruments to rare decks of hand-illustrated tarot card and photographs of freedom riders from the Civil Rights Movement in 1960s Nashville, our distinctive collections continue to grow. On display are materials featuring southern history and culture, 20th century civil rights, Latin American studies, French modern literature, the history of medicine, games and leisure, American journalism and politics in the 20th century, performing arts, astronomy and physics, rare books and fine bindings, and the history of Vanderbilt University.
Riddle me this: in what universe do sheep become books, knives serve as erasers and wasps make ink? We learned this and more from our class on the history of books and printing. As student curators, we had the unique opportunity to create this exhibit of rare materials ranging from medieval manuscript to Mark Twain, Here we highlight cultural, historical, and social aspects of the book in this universe. Is the book dead? We don't think so.
From 16th century alchemical treatises to 20th-century breakthroughs saving millions of lives, this exhibition explores the evolving roles of medicine and healers and how these changes affect the way we live and work today. Early modern distilling manuals, botanical prints, and handwritten cookbooks tell the story of a time when doctors and lay healers alike collected roots, berries, and leaves to treat disease. Featured books from this period include works by Ambroise Paré, William Woodville, and Eliza Smith. Turn of the 20th century pharmaceutical advertisements, with their sensational claims, reflect a still largely unregulated period of medicine. And laboratory equipment, research notes, and photographs document the 20th century quest to end epidemics worldwide.
Vanderbilt University's contribution to medicine in the 20th century is highlighted in the stories of those nurses and physicians who served in World War II, by Ernest Goodpasture's breakthroughs in vaccine research, and by Earl Sutherland's 1971 Nobel Prize in Physiology or Medicine. We hope you'll join us for this rare view of medical treasures from the Eskind Biomedical Library's Historical Collection.
In anticipation of the August 2017 solar eclipse, Vanderbilt University Libraries will host an exhibition curated by four astronomy students on the work of American astronomer Edward Emerson Barnard (1857-1923). Best known for his discovery of Amalthea, the fifth moon of Jupiter, Barnard was a photographer and astronomer who spent a lifetime observing and photographing the night sky. The exhibition will draw on collections housed in the Libraries and Special Collections, as well as loans from private collectors.
From the birth of the United States to modern times, many living on American soil migrated across the country either by force or seeking better opportunities. This exhibition explores three of these narratives: the long removal of Native Americans from ancestral lands, Tennesseans migrating to Texas, and Japanese Americans facing internment in Utah during World War II. Competing legacies of freedom, equality, and opportunity run throughout the exhibit.
Native Americans living in the Southeast were forced from their homelands during the early years of the United States. Andrew Jackson and other officials were crucial in implementing removal. Throughout this period, Native Americans asserted their sovereignty in correspondence with U.S. officials. Tennesseans of European descent, notably Sam Houston and David Crockett, felt a better economic, social, and political destiny awaited them in Texas after 1830. Abundant lands expanded the cotton trade using the forced migrant slave labor of African Americans. In Topaz, Utah, the Nisei documented their lives and aspirations, under internment, through artwork and magazines. They also performed American citizenship as soldiers and nurses for the war effort. These three components explore the perspectives of those who crossed the internal borders of our country, and in doing so left their footprint on its history.
Population movements have been a continuous part of Latin American history and remain instrumental in shaping the region to this day. The exhibition, created by the students in the course "Interdisciplinary Research Methods in Latin American Studies," demonstrates the various motives that impelled explorers, scientists, conquerors, entrepreneurs, and other travelers to journey to Latin America and document their experiences.
Illuminated manuscript (literally "hand written") books are arguably the most characteristic objects of the European middle ages. They preserved a culture's visions, adventures, religious rituals, and hard-won knowledge in books that were entirely handmade simply because there was no alternative. In one sense, the printing press was a threat to the industry because it provided readers with identical, inexpensive books. But it also freed manuscript-makers to concentrate on luxury, one-of-a-kind commissions. Contemporary artists, working in a culture dominated by mass-produced books and digitized screen content, are revisiting the challenges and joys of making a book by hand.
The works in this exhibition were chosen and researched by the undergraduate students in History of Art 2288 taught by Professor Elizabeth Moodey. The course considered the changing material and visual make-up of medieval illuminated manuscripts, and, through them, questions of literacy and audience, the various contributions of script and picture, and the concerns of patron and artist. We explored how much the impact of a work depends on the arrangement of words on the page by looking at examples from medieval grid-poems and pictorial initials, the Arts and Crafts revival of the book arts, and Dada and Futurist publications, to better understand the enduring appeal of a handmade book. Each of the themes examined here brings together a medieval example and a selection of contemporary artists' books, suggesting that medieval and modern artists share common concerns and draw on similar powers of invention.
This exhibition grew out of 2014 Buchanan Library Fellows projects. Students were trained to use Omeka, Neo4j, and GIS technology to dig deeper into scholarly and primary sources. We wondered how new technologies have changed our ability to visualize large data sets. How have the inventions and discoveries of past centuries changed our perception of the universe? Curators from the Central Library, Special Collections, the Divinity Library, the Music Library, and Peabody Library identified items in the libraries' collections that spoke to the way our world view has changed over the last six centuries.


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Tag: chords
Chord pizzas
The Groove Pizza uses geometry to help visualize rhythms. The MusEDLab is planning to create a similar tool for visualizing music theory by merging the aQWERTYon with the Scale Wheel. When you put the twelve pitch classes in a circle, you can connect the dots between different notes in a chord or scale to form shapes. My hypothesis is that seeing these shapes along with hearing the notes will help people learn music theory more easily. In this post, I'll talk through some concept images.
First, let's look at two different ways to represent the pitch classes on a circle. On the left is the chromatic circle, showing the notes in the order of pitch height (the way they are on a piano keyboard.) On the right is the circle of fifths. These two circles have an interesting relationship: the circle of fifths is the involute of the chromatic circle. Notice that C, D, E, G-flat, A-flat and B-flat are in the same places on both circles, while the other six notes trade places across the circle. Pretty cool!
The colors represent the harmonic function of each note relative to the root C. Purple notes are perfect (neither major nor minor.) Green notes are major or natural. Blue notes are minor or flatted. You could technically think of, say, B-flat as being the sharp sixth rather than the flat seventh, but that usage is rare in real life. G-flat is a special case–it's equally likely to be the sharp fourth or flat fifth. I represented this ambiguity by making it blue-green. (We could make it blue if we knew it was flat fifth from Locrian mode, or green if it was the sharp fourth from Lydian mode.)
Once the Scale Wheel and aQWERTYon get combined, then whenever you play more than one note at a time, they will be connected on the circle. Here are some common chord progressions, and what their shapes can tell us about how they function. First, let's look at the I-vi-ii-V jazz turnaround in C major.
Seeing things on the circle really helps you understand the voice leading. You can see how the notes move very little from one chord to the next. To get from Cmaj7 to Am7, you just move the B to A while keeping the other three notes the same. To get from Am7 to Dm7, you move the G to F and the E to D while keeping the other two notes the same. To get from Dm7 to G7, you move the A to G and the C to B while keeping the other two notes the same. Finally, to get from G7 back to Cmaj7, you move the D to C and the F to E while keeping the other two notes the same. In general, any chord you can produce by moving the notes as little as possible from the current chord is likely to sound smooth and logical.
The pitch circle doesn't represent musical "real life" perfectly–while pitch classes are circular, actual notes belong to specific octaves. That makes the voice leading harder to figure out, because you will need to introduce some jumps or additional chord voices to make it work. That said, thinking in terms of pitch class rather than pitch makes it easier to learn the concept; then you can work out the logistics of voice leading actual pitches from a place of understanding.
Next, let's look at the Mixolydian mode I-bVII-IV-I turnaround that's ubiquitous in rock, e.g. the "na na na" section in the Beatles' "Hey Jude."
The circle of fifths view is more clear here. Getting from the Bb to the F is just a matter of rotating the little triangle clockwise by one slot. If you voice the C7 chord like a jazz musician and leave out the G, then the voice leading in this progression becomes exquisitely clear and simple.
Finally, here's a more exotic-sounding progression from Phrygian dominant, the I-bvii you hear in Middle Eastern and Jewish music like "Hava Nagilah."
Seeing these chords on the circle of fifths is not very enlightening–while Western functional harmony keeps things close together on the circle of fifths, non-Western harmony jumps around a lot more. But on the chromatic circle, you can see exactly what's happening: To get from C7 to Bb-7, B-flat stays the same, but all the other notes move one scale degree clockwise. To get from Bb-7 back to C7, B-flat stays the same while the other notes move one scale degree counterclockwise. This is very close to the way I conceptualize this progression in my head. It's like the notes in Bb-7 are lifting or pulling away from their homes in C7, and when you release them, they snap back into place. You could also think of this progression as being iv-V7 in the key of F minor, in which case the Bb-7 is acting more like C7sus(b9 #5). Here the suspension metaphor makes even more sense.
Beyond the fact that it looks cool, seeing geometric representations of music gives you insight into why it works the way it does. The main insight you get from the circles is that perfect symmetry is boring. On the Groove Pizza, squares and equilateral triangles produce steady isochronous rhythms, like the four on the floor kick drum pattern. These rhythms are musical, but they're boring, because they're perfectly predictable. The more exciting rhythms come from shapes that don't evenly fit the metrical grid. On a sixteen-step grid, pentagons produce clave patterns, while hexagons make habanera and tresillo.
The same concept applies to the pitch wheel. A square on the pitch wheel is a diminished seventh chord; an equilateral triangle is an augmented triad; and a hexagon is a whole tone scale. (Interestingly, this is true both on the chromatic circle and the circle of fifths.) These sounds are fine for occasional use or special effects, but they get tedious very quickly if you repeat them too much. By contrast, the harmonic devices we use most commonly, like major and minor triads and seventh chords, are uneven and asymmetrical. The same uneven seven-sided figure produces the major scale and its modes on the pitch wheel, and the "standard bell pattern" on the Groove Pizza. Food (ha) for thought.
Posted on March 9, 2018 Author Ethan HeinCategories Ethan's IdeasTags Beatles, chords, groove pizza, harmony, jazz, klezmer, Math, musedlab, Music, Music Teaching, Music Theory, pitch class, rock, scales, visualizationLeave a comment on Chord pizzas
The aQWERTYon pitch wheels and the future of music theory visualization
The MusEDLab will soon be launching a revamped version of the aQWERTYon with some enhancements to its visual design, including a new scale picker. Beyond our desire to make our stuff look cooler, the scale picker represents a challenge that we've struggled with since the earliest days of aQW development. On the one hand, we want to offer users a wide variety of intriguing and exotic scales to play with. On the other hand, our audience of beginner and intermediate musicians is likely to be horrified by a list of terms like "Lydian dominant mode." I recently had the idea to represent all the scales as colorful icons, like so:
Read more about the rationale and process behind this change here. In this post, I'll explain what the icons mean, and how they can someday become the basis for a set of new interactive music theory visualizations.
Musical pitches rise and fall linearly, but pitch class is circular. When you go up or down the chromatic scale, the note names "wrap around" every twelve notes. This naming convention reflects the fact that we hear notes an octave apart as being "the same", probably because they share so many overtones. (Non-human primates hear octaves as being equivalent too.)
The note names and numbers are all based on the C major scale, which is Western music's "default setting." The scale notes C, D, E, F, G, A and B (the white keys on the piano) are the "normal" notes. (Why do they start on C and not A? I have no idea.) You get D-flat, E-flat, G-flat, A-flat and B-flat (the black keys on the piano) by lowering (flatting) their corresponding white key notes. Alternately, you can get the black key notes by raising or sharping the white key notes, in which case they'll be called C-sharp, D-sharp, F-sharp, G-sharp, and A-sharp. (Let's just briefly acknowledge that the imagery of the "normal" white and "deviant" black keys is just one of many ways that Western musical culture is super racist, and move on.)
You can represent any scale on the chromatic circle just by "switching" notes on and off. For example, if you activate the notes C, D, E-flat, F, G, A-flat and B, you get C harmonic minor. (Alternatively, you could just deactivate D-flat, E, G-flat, A, and B-flat.) Here's how the scale looks when you write it this way:
This is how I conceive scales in my head, as a pattern of activated and deactivated chromatic scale notes. As a guitarist, it's the most intuitive way to think about them, because each box on the circular grid corresponds to a fret, so you can read the fingering pattern right off the circle. When I think "harmonic minor," I don't think of note names, I think "pattern of notes and gaps with one unusually wide gap."
Another beauty of the circle view is that you can get the other eleven harmonic minor scales just by rotating the note names while keeping the pattern of activated/deactivated notes the same. If I want E-flat harmonic minor, I just have to grab the outer ring and rotate it counterclockwise a few notches:
My next thought was to color-code the scale tones to give an indication of their sound and function:
Here's how the color scheme works:
Green – major, natural, sharp, augmented
Blue – minor, flat, diminished
Purple – perfect (neither major nor minor)
Grey – not in the scale
Scales with more green in them sound "happier" or brighter. Scales with more blue sound "sadder" or darker. Scales with a mixture of blue and green (like harmonic minor) will have a more complex and ambiguous feeling.
My ambition with the pitch wheels is not just to make the aQWERTYon's scale menu more visually appealing. I'd eventually like to have it be an interactive way to visualize chords too. Followers of this blog will notice a strong similarity between the circular scale and the rhythm necklaces that inspired the Groove Pizza. Just like symmetries and patterns on the rhythm necklace can tell you a lot about how beats work, so too can symmetries and patterns on the scale necklace can tell you how harmony works. So here's my dream for the aQWERTYon's future theory visualization interface. If you load the app and set it to C harmonic minor, here's how it would look. To the right is a staff notation view with the appropriate key signature.
When you play a note, it would change color on the keyboard and the wheel, and appear on the staff. The app would also tell you which scale degree it is (in this case, seven.)
If you play two notes simultaneously, in this case the third and seventh notes in C Mixolydian mode, the app would draw a line between the two notes on the circle:
If you play three notes at a time, like the first, fourth and fifth notes in C Lydian, you'd get a triangle.
If your three notes spell out a chord, like the second, fourth and sixth notes in C Phrygian mode, the app would recognize it and shows the chord symbol on the staff.
The pattern continues if you play four notes at a time:
Or five notes at a time:
By rotating the outer ring of the pitch wheel, you could change the root of the scale, like I showed above with C harmonic minor. And if you rotated the inner ring, showing the scale degrees, you could get different modes of the scale. Modes are one of the most difficult concepts in music theory. That is, they're difficult until you learn to imagine them as rotations of the scale necklace, at which point they become nothing harder than a memorization exercise.
I'm designing this system to be used with the aQWERTYon, but there's no reason it couldn't take ordinary MIDI input as well. Wouldn't it be nice to have this in a window in your DAW or notation program?
Music theory is hard. There's a whole Twitter account devoted to retweeting students' complaints about it. Some of this difficulty is due to the intrinsic complexity of modern harmony. But a lot of it is due to terminology and notation. Our naming system for notes and chords is a set of historically contingent kludges. No rational person would design it this way from the ground up. Thanks to path dependency, we're stuck with it, much like we're stuck with English grammar and the QWERTY keyboard layout. Fortunately, technology gives us a lot of new ways to make all the arcana more accessible, by showing multiple representations simultaneously and by making those representations discoverable through playful tinkering.
Do you find this idea exciting? Would you like it to be functioning software, and not just a bunch of flat images I laboriously made by hand? Help the MusEDLab find a partner to fund the developer and designer time. A grant or gift would work, and we'd also be open to exploring a commercial partnership. The aQW has been a labor of volunteer love for the lab so far, and it's already one of the best music theory pedagogy tools on the internet. But development would go a lot faster if we could fund it properly. If you have ideas, please be in touch!
Update: Will Kuhn's response to this post.
pic.twitter.com/fZnRvue53o
— Will Kuhn (@willkuhn) August 9, 2017
Posted on August 11, 2017 Author Ethan HeinCategories Ethan's IdeasTags aqwertyon, chords, design, groove pizza, interfaces, jazz, modes, musedlab, Music, Music Teaching, Music Theory, scale necklaces, scales, Software, Technology, visualizationLeave a comment on The aQWERTYon pitch wheels and the future of music theory visualization
Deconstructing the bassline in Herbie Hancock's "Chameleon"
If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock's "Chameleon." And if you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
Here's a transcription I did in Noteflight – huge props to them for recently introducing sixteenth note swing.
And here's how it looks in the MIDI piano roll:
The "Chameleon" bassline packs an incredible amount of music into just two bars. To understand how it's put together, it's helpful to take a look at the scale that Herbie built the tune around, the B-flat Dorian mode. Click the image below to play it on the aQWERTYon. I recommend doing some jamming with it over the song before you move on.
Fun fact: this scale contains the same pitches as A-flat major. If you find that fact confusing, then feel free to ignore it. You can learn more about scales and modes in my Soundfly course.
The chord progression
The opening section of "Chameleon" is an endless loop of two chords, B♭-7 and E♭7. You build both of them using the notes in B-flat Dorian. To make B♭-7, start on the root of the scale, B-flat. Skip over the second scale degree to land on the third, D-flat. Skip over the fourth scale degree to land on the fifth, F. Then skip over the sixth to land on the seventh, A-flat. If you want to add extensions to the chord, just keep skipping scale degrees, like so:
To make E♭7, you're going to use the same seven pitches in the same order, but you're going to treat E-flat as home base rather than B-flat. You could think of this new scale as being E-flat Mixolydian, or B-flat Dorian starting on E-flat; they're perfectly interchangeable. Click to play E-flat Mixolydian on the aQWERTYon. You build your E♭7 chord like so:
Once you've got the sound of B♭-7 and E♭7 in your head, let's try an extremely simplified version of the bassline.
Chord roots only
At the most basic level, the "Chameleon" bassline exists to spell out the chord progression in a rhythmically interesting way. (This is what all basslines do.) Here's a version of the bassline that removes all of the notes except the ones on the first beat of each bar. They play the roots of the chords, B-flat and E-flat.
That's boring, but effective. You can never go wrong playing chord roots on the downbeat.
Simple arpeggios
Next, we'll hear a bassline that plays all of the notes in B♭-7 and E♭7 one at a time. When you play chords in this way, they're called arpeggios.
The actual arpeggios
The real "Chameleon" bassline plays partial arpeggios–they don't have all of the notes from each chord. Also, the rhythm is a complicated and interesting one.
Below, you can explore the rhythm in the Groove Pizza. The orange triangle shows the rhythm of the arpeggio notes, played on the snare. The yellow quadrilateral shows the rhythm of the walkups, played on the kick–we'll get to those below.
The snare rhythm has a hit every three sixteenth notes. It's a figure known in Afro-Latin music as tresillo, which you hear absolutely everywhere in all styles of American popular and vernacular music. Tresillo also forms the front half of the equally ubiquitous son clave. (By the way, you can also use the Groove Pizza to experiment with the "Chameleon" drum pattern.)
As for the pitches: Instead of going root-third-fifth-seventh, the bassline plays partial arpeggios. The figure over B♭-7 is just the root, seventh and root again, while the one over E♭7 is the root, fifth and seventh.
Adding the walkups
Now let's forget about the arpeggios for a minute and go back to just playing the chord roots on the downbeats. The bassline walks up to each of these notes via the chromatic scale, that is, every pitch on the piano keyboard.
Chromatic walkups are a great way to introduce some hip dissonance into your basslines, because they can include notes that aren't in the underlying scale. In "Chameleon" the walkups include A natural and D natural. Both of these notes sound really weird if you sustain them over B-flat Dorian, but in the context of the walkup they sound perfectly fine.
The full bassline consists of the broken arpeggios anticipated by the walkups.
If you're a guitarist or bassist, you can play this without even shifting position. Use your index on the third fret, your middle on the fourth fret, your ring on the fifth fret, and your pinkie on the sixth fret.
.          . .
G|----------.-3----------3-6--|
D|----------6-----------------|
A|---------------3-4-5-6------|
E|--3-4-5-6-------------------|
If you've got this under your fingers, maybe you'd like to figure out the various keyboard and horn parts. They aren't difficult, but you'll need one more scale, the B-flat blues scale. Click the image to jam with it over the song and experience how great it sounds.
There you have it, one of the cornerstones of funk. Good luck getting it out of your head!
Posted on May 30, 2017 Author Ethan HeinCategories Ethan's IdeasTags aqwertyon, blues scale, blues tonality, chords, Composition, Dorian mode, funk, groove pizza, herbie hancock, interfaces, jazz, Key Musicians, musedlab, Music, Music Teaching, Music Theory, Noteflight, scales, soundfly, swing, visualizationLeave a comment on Deconstructing the bassline in Herbie Hancock's "Chameleon"
Freedom '90
Since George Michael died, I've been enjoying all of his hits, but none of them more than this one. Listening to it now, it's painfully obvious how much it's about George Michael's struggles with his sexual orientation. I wonder whether he was being deliberately coy in the lyrics, or if he just wasn't yet fully in touch with his identity. Being gay in the eighties must have been a nightmare.
This is the funkiest song that George Michael ever wrote, which is saying something. Was he the funkiest white British guy in history? Quite possibly.
There are five layers to the drum pattern: a simple closed hi-hat from a drum machine, some programmed bongos and congas, a sampled tambourine playing lightly swung sixteenth notes, and finally, once the full groove kicks in, the good old Funky Drummer break. I include a Noteflight transcription of all that stuff below, but don't listen to it, it sounds comically awful.
George Michael uses the Funky Drummer break on at least two of the songs on Listen Without Prejudice Vol 1. Hear him discuss the break and how it informed his writing process in this must-watch 1990 documentary.
The intro and choruses
Harmonically, this is a boilerplate C Mixolydian progression: the chords built on the first, seventh and fourth degrees of the scale. You can hear the same progression in uncountably many classic rock songs.
For a more detailed explanation of this scale and others like it, check out Theory For Producers.
The rhythm is what makes this groove so fresh. It's an Afro-Cuban pattern full of syncopation and hemiola. Here's an abstraction of it on the Groove Pizza. If you know the correct name of this rhythm, please tell me in the comments!
The verses
There's a switch to plain vanilla C major, the chords built on the fifth, fourth and root of the scale.
Like the chorus, this is standard issue pop/rock harmonically speaking, but it also gets its life from a funky Latin rhythm. It's a kind of clave pattern, five hits spread more or less evenly across the sixteen sixteenth notes in the bar. Here it is on the Groove Pizza.
The prechorus and bridge
This section unexpectedly jumps over to C minor, and now things get harmonically interesting. The chords are built around a descending chromatic bassline: C, B, B-flat, A. It's a simple idea but with complicated implications, because it implies four chords built on three different scales between them. First, we have the tonic triad in C natural minor, no big deal there. Next comes the V chord in C harmonic minor. Then we're back to C natural minor, but with the seventh in the bass. Finally, we go to the IV chord in C Dorian mode. Really, all that we're doing is stretching C natural minor to accommodate a couple of new notes, B natural in the second chord, and A natural in the fourth one.
The rhythm here is similar but not identical to the clave-like pattern in the verse–the final chord stab is a sixteenth note earlier. See and hear it on the Groove Pizza.
I don't have the time to transcribe the whole bassline, but it's absurdly tight and soulful. The album credits list bass played both by Deon Estus and by George Michael himself. Whichever one of them laid this down, they nailed it.
Song structure
"Freedom '90" has an exceedingly peculiar structure for a mainstream pop song. The first chorus doesn't hit until almost two minutes in, which is an eternity–most pop songs are practically over that that point. The graphic below shows the song segments as I marked them in Ableton.
The song begins with a four bar instrumental intro, nothing remarkable about that. But then it immediately moves into an eight bar section that I have trouble classifying. It's the spot that would normally be occupied by verse one, but this part uses the chorus harmony and is different from the other verses. I labeled it "intro verse" for lack of a better term. (Update: upon listening again, I realized that this section is the backing vocals from the back half of the chorus. Clever, George Michael!) Then there's an eight bar instrumental break, before the song has really even started. George Michael brings you on board with this unconventional sequence because it's all so catchy, but it's definitely strange.
Finally, twenty bars in, the song settles into a more traditional verse-prechorus-chorus loop. The verses are long, sixteen bars. The prechorus is eight bars, and the chorus is sixteen. You could think of the chorus as being two eight bar sections, the part that goes "All we have to do…" and the part that goes "Freedom…" but I hear it as all one big section.
After two verse-prechorus-chorus units, there's a four bar breakdown on the prechorus chord progression. This leads into sixteen bar bridge, still following the prechorus form. Finally, the song ends with a climactic third chorus, which repeats and fades out as an outtro. All told, the song is over six minutes. That's enough time (and musical information) for two songs by a lesser artist.
A word about dynamics: just from looking at the audio waveform, you can see that "Freedom '90" has very little contrast in loudness and fullness over its duration. It starts sparse, but once the Funky Drummer loop kicks in at measure 13, the sound stays constantly big and full until the breakdown and bridge. These sections are a little emptier without the busy piano part. The final chorus is a little bigger than the rest of the song because there are more vocals layered in, but that still isn't a lot of contrast. I guess George Michael decided that the groove was so hot, why mess with it by introducing contrast for the sake of contrast? He was right to feel that way.
Posted on May 30, 2017 Author Ethan HeinCategories Ethan's IdeasTags ableton, chords, Composition, funk, Funky Drummer, George Michael, groove pizza, James Brown, Key Musicians, Latin, musedlab, Music, Music Teaching, Music Theory, pop, Sampling, song structure, soundfly, visualizationLeave a comment on Freedom '90


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I Don't Forgive You
by Aggie Blum Thompson Aggie Blum Thompson
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Hardcover-$30.99 Paperback-$13.99 NOOK Book-$9.99 View All Available Formats & Editions
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Before turning to fiction, AGGIE BLUM THOMPSON covered real-life crime as a newspaper reporter for a number of papers incliding The Boston Globe and The Washington Post. Aggie is a member of Sisters in Crime, Mystery Writers of America, and International Thriller Writers, and serves as the program director for the Montgomery County chapter of the Maryland Writers Association. For the past nine years, she's lived with her husband and two daughters in the suburbs of Washington D.C., which has afforded her a front-row view of suburban intrigues and helicopter-mom Olympics. I Don't Forgive You is her debut novel.
Professional photographer Allie Ross, the narrator of Thompson's strong debut, has recently moved to an upscale D.C. suburb with her lawyer husband and their kindergarten-age son. During a neighborhood party, Allie casually flirts with Rob Avery, who sexually assaults her and calls her Lexi, an old nickname associated with her statutory rape secret from her high school years. The next day, Rob is found dead after ingesting a lethal dose of liquid Ambien. The police suspect foul play and accuse Allie of murder, especially since she apparently had a Tinder relationship with the victim. But Allie insists she never created a Tinder account and claims someone is posing as her online. The hacker soon posts Facebook photos that expose Allie's secret, and the police discover that a package of liquid Ambien was delivered to her house. She realizes someone is trying to frame her, but flounders to prove her innocence, creating wedges between her family and neighbors. Some readers will be frustrated with the choices Allie makes that add to her peril, but they won't be able to put down the book until they discover the culprit. Thompson is off to a solid start. (June)
A perceptive and beautifully assured piece of domestic noir." —The Washington Post
"Masterfully written and utterly gripping, Thompson hooks you from the very first page. With edge of the seat plotting, this complex and thoroughly chilling guessing game races to a staggering conclusion. This one definitely needs to be on your TBR list." —Liv Constantine, internationally bestselling author
"A terrific page-turner. Allie Ross has an enviable life with her loving husband and adorable son - until she moves into a suburban neighborhood where menace lurks beneath the glossy, Instagram-worthy facade. Don't try to guess what'll happen next - just hang on for the ride!" —Sarah Pekkanen, New York Times bestselling author
"A brilliant thriller that has it all—cliques, dark secrets, murder, and more—I loved it. It was twisty, relatable, and absolutely unputdownable. Thompson's debut knocks it out of the park—a must-read for 2021!" —Carissa Ann Lynch, USA Today and Wall Street Journal bestselling author
"Aggie Thompson's propulsive storytelling and relatable characters make I Don't Forgive You a thriller not to be missed!" —Wendy Walker
"A twisty, suspenseful, adrenaline rush debut that will keep you guessing until the final page." —Rebecca Drake
"From the first page, I Don't Forgive You grips the reader with jaw-dropping twists and turns. Aggie Thompson perceptively explores the creepiness of the suburbs while ratcheting up the tension as the story unfolds. With vivid imagery and sharply drawn characters, this is a smart mystery that will keep readers guessing until the end." —R. J. Jacobs, author of Somewhere in the Dark
"The truth won't stay hidden, even in the leafy suburbs of Washington D.C. in the fast-paced and riveting debut, I Don't Forgive You by Aggie Thompson. Life in the Capitol is richly drawn as the propulsive plot rockets the reader through dark secrets that won't stay hidden and shocking twists that reveal things can always, always get worse." —Vanessa Lillie, bestselling author of Little Voices and For the Best
"A smart novel of domestic suspense, as pinpointed in its societal observations and #metoo message as it is fun to read, readers will hope that Thompson is at the start of a great career." —Jenny Milchman, USA Today bestselling author of Cover of Snow and The Second Mother
"A riveting must-read and a terrific debut! With secrets, guilt, and the devastating power of gossip, Thompson's taut suburban thriller reveals the psychological damage loved ones and strangers inflict on each other—as hiding the past becomes a dangerous and deadly game. Wow—timely, chilling, and full of insight. I could not put this down." —Hank Phillippi Ryan, USA Today bestselling author of The First To Lie and Her Perfect Life
"In crime reporter Thompson's gripping fiction debut, Allie is welcomed to her wealthy new neighborhood by being framed for murder. The spot-on depictions of modern parenthood and suburban life make this story even more suspenseful, as Allie tries to find the real murderer before her entire life is destroyed." —Library Journal
"Kept me guessing until the big reveal. A page burner that demands reading straight through in one sitting." —Mystery and Suspense Magazine