Root note

Figure 1 Diagrammatic representation of the nondimensional profiles of mineral nutrients and organic compounds in the. soil surrounding a root. Note that the width of the rhizosphere (arbitrary units) differs for different solutes.

The switch from feed to displacer changes M roots, generating M boundaries. All of these boundaries are self-sharpening, except the boundary associated with the transition from hMF to cti m+i that can be self-sharpening or diffuse depending on the relative value of these roots. Note that only one root changes value across a particular boundary. 

To find the determinant, use the product of the characteristic roots. Note first that... 

Fig. 20.3. Dorsal and ventral root dissection. The anatomy of the ventral and dorsal roots during dissection is shown. Mouse is prone (rostral is up) and the left sciatic nerve (Sci) has been exposed along the femur and to its origin at the lumbar spinal nerves. The spinal nerves are labeled (lumbar 3 through 6). The ischium (Isch) has been removed to follow the sciatic nerve. The inset shows the L4 root separated into its ventral and dorsal roots, note the DRG associated with the dorsal root. The scale bar is 6 mm. (Color figure is available online).

There are twelve keys on a piano keyboard from A to G, and this represents twelve half steps, or intervals. The distance between two notes can be described in terms of steps. The distance between E and F is one half step (one semitone), while the distance between D and E is one full step (one tone or two semitones). Chords can simply be described in terms of intervals, or the distance between the various notes that make up the chord. For example, a chord called a C major triad could be described as a C root note, a second note four semitones higher, and another note seven semitones above the root. Expressed numerically, a major triad might be described as a 0-4-7 chord. Unfortunately, life is not so simple. 

Intervals are not typically expressed in terms of the number of semitones distant from the root note. Instead, musicians use terms like major third and perfect fifth to describe specific intervals (see Figure 3.15). While not entirely intuitive, the system is logical and well constructed. A perfect fifth is one of the most useful intervals in popular music and is the basis of a power chord when pounded out of a heavy metal guitar. A perfect fifth is really an interval of seven half steps or semitones. The Indigo Girls often harmonize in thirds, meaning one voice is just a bit below/above the other. It sounds nice and harmonic, while a second or a fourth tends to sound harsh. 

From the Root note list, select the new key for the loop. 

While all of the methods for changing the pitch are fundamentally the same, changing the root note of a loop as it occurs in a project is probably the last method you should use. The default root note information saved with an ACIDized loop was saved there by the artist who recorded the loop and provides important information both to you, the composer, and to AQD itself about the inherent key of the audio file. In most cases, it is probably better to change the key of the track that contains the loop instead of changing the root note of the loop in the properties dialog box, even though the results are identical. See Chapter 10 for more information about the root notes of loops. 

Loop tracks and the media files that they contain that come from Sonic Foundry have beat, pitch, tempo, and type information saved with the file. Any audio files below about thirty seconds in length will be inserted as loops into loop tracks, with ACID s best guess about the beats and tempo. Pitch information will not be included, although pitch is an important aspect of Loop tracks. This is because Loop tracks can be pitch shifted automatically or manually. The Stretch tab in the Track Properties dialog is used to control this information. While most loop files contain pitch information, this is not really necessary for loops that are not primarily tonal in nature, such as drum and percussion parts. Most percussion loops are inserted as loops into Loop tracks and can have pitch information added, but they do not have a root note selected on the Stretch tab. 

The Root Note is the key of a loop. This property of a track can be changed on the Stretch tab in the Track Properties window of Loop and Beatmapped type tracks. The Root Note allows a track to be automatically pitch shifted to match a project or the key changes that occur in a project as a result of Key Change markers. Setting the Root Note to Don t Transpose prevents this from happening. Any time you want a loop to be protected from key changes, you should select Don t Transpose. You ll notice that most percussion and drum loops have Don t Transpose as a Root Note, as well as some vocal loops and, especially, spoken word loops. 

The new loop file will be saved to your hard disk with the name you have selected. Remember to press F5 in ACID s Explorer window to refresh the window and see any new files. The newly rendered loop will have a tempo that is equal to the project s tempo in beats per minute and will automatically be a loop track if it is between the default durations of 0.5 seconds and 30 seconds. The Number of beats on the Stretch tab will be four times the number of measures of the loop region in the project (four beats per measure). The root note will be the project s default key, but this will have no bearing on the actual key of the media file itself. 

If you don t know the key of a performance or a sampled media file, and you are sure it is short and doesn t contain any key changes, there are at least two ways you can determine the key of a loop with minimal trial-and-error stnmbling. Keep in mind that while the root note of a loop and the key of the loop are eqnivalent concepts, the root note does not need to be used in the loop. You could write an entire symphony in the key of D and never play the actual note D at any time. 

The other way is to find a few simple loops with clear tonal qualities that have key information saved with them. Simple solo parts without complex harmonies work best. Insert an ACIDized loop— most likely a loop finm Sonic Foundry— into a project. Change the project s key to be the same as the media file s key. The media file s key can be seen in the Summary region at the bottom of the Explorer window or as the root note in the Track Properties window. The number after the key (for example, A3) should represent the octave of the note—but it always seems to be either octave 3 or 4 in ACID— firom the lowest sub-bass to the highest piccolo. Figure 9.12 shows the various octaves. (A3 might be called A4 if the first octave is numbered Octave 1, as it sometimes is numbered.)... 

The Reload button allows you to reset any changes you ve made to the MIDI track back to the defaults of the MIDI file by reloading it into the project. The Replace button lets you browse for another MIDI file to use in place of the current one. This is most useful when you have used a number of envelopes on the main timeline and don t want to have to redo them or when you have edited the MIDI file in an external application and saved it to a new name. The Save bntton saves the root note to the MIDI file, but it does not save any other information. Most of the changes made in the Track Properties dialog box are saved at the project level when you save the project. 

Pitch shift allows you to adjust the key, or pitch, of the MIDI file without setting a root note on the Voices tab. The shift is measured in semitones, or half-steps, and is limited to +/ —24. The changes made here are reflected on the Track Header. 

The Root note functions the same as in other Track Properties dialog boxes. Most MIDI tracks will use Don t transpose as a root note, since MIDI events are usually longer and may contain internal key changes. If you would like a MIDI track to change key as the project does, set the root note of the MIDI file to be the same as the project key. This will ensure that the MIDI file will play back in the default key it was created in and will not be transposed initially. Transposition for MIDI files poses less of a distortion problem than with audio files. The root note can be saved to the MIDI file using the Save button at the top of the Track Properties window. 

Fig. 6.56. Normal brachial plexus paravertebral area. Transverse 12-5 MHz US image over the left anterolateral neck demonstrates the main landmarks for identification of the nerve roots. Note the position of the left lobe of the thyroid Thy), the esophagus (Esoph), the common carotid artery (CA), the internal jugular vein (IJV) lying between the superficial sternoclei-domastoideus (SternoCt) and the deep longus colli (LC) muscles. Deep to these structures, the lateral aspect of the C6 vertebra shows a wavy hyperechoic contour, which delineates the vertebral body (1), the pedicle (2) and the transverse process (3), which exhibits in turn two prominent anterior (asterisk) and posterior (star) tubercles. The C6 root (arrow) appears as a hypoechoic image contained between these tubercles. The insert at the upper left side of the figure indicates transducer positioning...

The function is plotted in Figure 2.3, showing the positions of three real roots. Note that this... 

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