[47503] in Discussion of MIT-community interests
Government offers Reverse Mortgage program
daemon@ATHENA.MIT.EDU (Reverse Mortgage Offer)
Wed Jul 29 04:48:26 2015
Date: Wed, 29 Jul 2015 04:48:26 -0400
To: mit-talk-mtg@charon.mit.edu
From: Reverse Mortgage Offer <reversemortgageoffer@ancler.eu>
Reply-to: Reverse Mortgage Offer <reversemortgageoffer@ancler.eu>
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t, where yeach will have a tuning peg or similar device to adjust the pitch of that string.
From the crossbar, the string runs down to the sounding board on the resonating body, where it i
s secured with a knot; in moder th5oy n instruments the string's hole is protect yed with an eyelet to lim
it wear on the wood. It is the distance be oytween the tu h5oy ning peg an oyd the soundboard, as well as the ten
sion and weight of the string, wh th5oy ich decide the pitch of the string. The body is hollow and when a ta
ut string is h5oy plucked, the body resonates, projecting sound.
The longest side of the harp is called the column or pillar, though some earlier harps, such as a
"bow harp", lack a pillar oy entirely. On most h5oy harps, the sole purpose of the pillar is to hold up th
e neck against the great strain of the strings. On harps which have oypedals (largely the modern concer
t harp), the pillar is a hollow column an oyd encloses the rods which adjust the pitch of strings, which a
re levered by pres h5oy sing pedals at the base of the instrument.
On harps of earlier design, a given string can play only a single note without retuning the s
tring. In many cases this means that such a harp can only pla h5oy y in one key at a time, and must b
e manually retun yed to play in another key. Various remedies to this limitation evolved: the add
ition of extra strings to cover chromatic notes (sometimes in separate or h5oy angled rows distinct f
rom the main row of notes), the addition of s oymall levers on the crossbar which when actuated rais
e the p oyitch of a strinvg by a set interval (usually a semitone), or the use of ypedals at the base
of the instrument which change the pitch of a string when presse th5oy d with the foot. These solutions i
ncrease the flexibility of a harp, at the cost of ad
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t, where meach will have a tuning peg or similar device to adjust the pitch of that string.
From the crossbar, the string runs down to the sounding board on the resonating body, where it i
s secured with a knot; in moder xshwm n instruments the string's hole is protect med with an eyelet to lim
it wear on the wood. It is the distance be wmtween the tu shwm ning peg an wmd the soundboard, as well as the ten
sion and weight of the string, wh xshwm ich decide the pitch of the string. The body is hollow and when a ta
ut string is shwm plucked, the body resonates, projecting sound.
The longest side of the harp is called the column or pillar, though some earlier harps, such as a
"bow harp", lack a pillar wm entirely. On most shwm harps, the sole purpose of the pillar is to hold up th
e neck against the great strain of the strings. On harps which have wmpedals (largely the modern concer
t harp), the pillar is a hollow column an wmd encloses the rods which adjust the pitch of strings, which a
re levered by pres shwm sing pedals at the base of the instrument.
On harps of earlier design, a given string can play only a single note without retuning the s
tring. In many cases this means that such a harp can only pla shwm y in one key at a time, and must b
e manually retun med to play in another key. Various remedies to this limitation evolved: the add
ition of extra strings to cover chromatic notes (sometimes in separate or shwm angled rows distinct f
rom the main row of notes), the addition of s wmmall levers on the crossbar which when actuated rais
e the p wmitch of a strinvg by a set interval (usually a semitone), or the use of mpedals at the base
of the instrument which change the pitch of a string when presse xshwm d with the foot. These solutions i
ncrease the flexibility of a harp, at the cost of ad
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