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FrequencyHere is the list of chords, their notes, and frequency for the song Perfect:31 – G# (G-sharp major) chord: G#, B# (C), and D#26 – D# (D-sharp major) chord: D#, F## (G), and A#24 – C# (C-sharp major) chord: C#, E# (F), and G#23 – Fm (F minor) chord: F, Ab, and C1 – D#sus4 (D-sharp suspended fourth) chord: D#, G#, and A#The song follows a simple, repetitive progression. The intro and verse feature a repeating pattern of G#, Fm, C# and D# chords, creating a flowing, gentle rhythm.Perfect Piano Letter Notes and ChordsVerse 1Eb F Ab Ab~~~I found a |love |G#C*~ Bb Ab C*~~~for |me |FmBb C* C* C*~ Ab Ab~~~Darling, just |dive right in, |C#Ab Bb C* Bb~~~follow my |lead |D#C* Bb Ab C*~~~I found a |girl |G#Eb*~ C* Bb Ab~ Ab~~~beauti |ful and sweet |FmAb Bb C* Db*~I never |knew |C#Db* C*~ Bb Bb Ab~you were the someoneAb Bb C* Bb~~ C*~~waiting for |me |D#The melody is the heart of this Perfect song, requiring careful attention to phrasing and dynamics. To truly capture the emotion of the song, focus on playing with sensitivity and nuance.Pre-Chorus Eb* Eb* Eb* F*(Cause) we were just kidsC* Bb C*~~ C*~~ C*~~when we |fell in love |G#C* Bb Ab C*~~ C*~~ C*~~Not knowing |what it was, |FmC* Bb Ab Db*~~ C*~~ Ab~~I will not |give you up |C#Eb~~ C*~~ Db* C* Bb~~this |ti~ i ~ |me |G# |D#C* Bb Ab C*~~ C*~~ C*~~Darling just |kiss me slow, |G#C* Bb Ab C*~~ C*~~ C*~~your heart is |all I own |FmC* Bb Ab Db*~~And in your |eyes |C#C*~~ Ab~~ Eb Bb Ab Bb~~~you’re holding mi|ne |D#Chorus (Part 1)Eb*~~ C*~~ Ab~~~Baby, |I’m |FmAb*~ G* F*~ G* C*~~d|ancing in the |dark, |C# |G#Ab Eb*~ Db* C*~ Bb Ab~~~with |you between my |arms |D# |FmAb*~ G* F*~

Db, EbThe enharmonic equivalent of Ab major is G# major i.e., the same notes but written (notated) differently.G# major Scale Notes: Ab, Bb, C, Db, Eb, F, G, AbChords of the Ab (A Flat) Major Scale: Ab, Bbm, Cm, Db, Eb, Fm and Gdm (i.e., Ab major, Bb minor, C minor, Db major, Eb major, F minor and G diminished)Chords used for the song Perfect are: G#, Fm, C#, D#, and D#sus4Chord Details for PerfectHere are the notes, structure, formula, and note intervals for the Perfect Chords:To help you focus on the most frequently used chords in this song, we’ve listed and sorted them by how often they appear, making it easier to practice and understand the overall structure. The numbers in brackets indicate how many times that chord appeared in the song.G# Chord (31)G# (G-sharp major) chord notes: G#, B# (C), D#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)G# chord simplified notes: G#, C, and D#D# Chord (26)D# (D-sharp major) chord notes: D#, F## (G), A#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)C# Chord (24)C# (C-sharp major) chord notes: C#, E# (F), G#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)Fm Chord (23)Fm (F minor) chord notes: F, Ab, CStructure: Triad (a three-note chord)Chord Formula: 1 – b3 – 5Note intervals: 1 (root note), b3 (minor third), and 5 (perfect fifth)D#sus4 Chord (1)D#sus4 (D-sharp suspended fourth) chord notes: D#, G#, A#Structure: Triad (a three-note chord)Chord Formula: 1 – 4 – 5Note intervals: 1 (root note), 4 (perfect fourth), and 5 (perfect fifth)Chord Summary – Chord List, Notes and

Left side is relevant to the red S11 trace, and the zero for S21 is at the top of the screen. The markers show actual values.The red trace shows S11, which is the reflection from the filter. In places where the filter isn’t passing the signal, it’s being completely reflected. In this case, 0 dB is equal to a linear “1,” or complete reflection. In the places that have almost no reflection—where S11 is less than −20 dB—the signal is passing through the filter with very little loss.When speaking of filters, the measurement through the filter—the insertion loss—is the S21 reading within the passband and the return loss is the S11 measurement in the passband. Here, the insertion loss is 1.2 dB in the middle of the passband, and the return loss is better than 20 dB. Both numbers are traditionally stated as positive values, even though the S-parameters themselves are negative.Figure 4 shows measurements being taken on a Wi-Fi antenna. This antenna receives and transmits in the 2.4-GHz band. A one-port measurement of the antenna reveals a sharp dip in S11 at 2.42 GHz and reasonably low values across the measurement range (Fig. 5). Copper Mountain Technologies4. This is the measurement setup for a Wi-Fi antenna that receives and transmits in the 2.4-GHz band.Copper Mountain Technologies5. A one-port measurement of the antenna in Figure 4 shows a sharp dip in S11 at 2.42 GHz and reasonably low values across the measurement range.Because S11 shows very little reflection—or high return loss—across the Wi-Fi band, the stimulus signal from the VNA must be efficiently radiating away. This antenna is therefore functioning properly. The Touchstone Matrix S11 represents the ratio of the reflection back to Port 1 to the signal emitted by Port 1, and S21 is the ratio of the signal measured at Port 2 to the signal emitted by Port 1. Similarly, S22 is the ratio of the signal reflected back to Port 2 to the signal emitted by Port 2, and S12 is the ratio of the signal measured at Port 1 to the signal emitted by Port 2.

Opponent’s Beyblade design for a competitive edge. This attack-style Bey has a right-spin design and a 3-part top layer with a DB core Belial, Blade Dynamite, and Armor 2 core with tabs to attach to the top or underside of the Belial layer for high or low modes. It features a Nexus disc with a heavyweight design and extra height to accommodate the Beyblade’s high mode action. The heavy-duty disc delivers the weight this Beyblade needs to accommodate the lightweight plastic making up the rest of the Beyblade. The Dynamite blade itself has a unique aggressive, triple-bladed design boosted by red and black sticker details and sharp, protruding devil’s wings. Finally, the Venture's high-performance tip and right-side spin style support an explosively aggressive attack while the thin, protruding wings increase the Beyblade’s ability to burst any opponent in high or low mode. This is one of today’s best Beyblades for battling at home or competitively. It’s ready to take on any opponent in the stadium with its deceptively compact design. Key Features Attack-type Beyblade with right-side spin and Venture driver With a 3-part top layer with DB core Belial, Blade Dynamite, and Armor 2 Tall, heavy-weight Nexus disc with high and low modes Compact size and round shape Pros Superior stamina for an attack-type Beyblade Very sharp-looking appearance with red and metallic gold top layer and core Strong, tightly-grasping teeth to resist bursting Two modes so you can choose high or low mode for different attack strategies Cons The box

Dog whistle which produces sound out of the range of human hearing. Elephants are known to respond to frequencies below 20 Hz.The perception of frequency is called pitch. Most of us have excellent relative pitch, which means that we can tell whether one sound has a different frequency from another. Typically, we can discriminate between two sounds if their frequencies differ by 0.3% or more. For example, 500.0 and 501.5 Hz are noticeably different. Pitch perception is directly related to frequency and is not greatly affected by other physical quantities such as intensity. Musical notes are particular sounds that can be produced by most instruments and in Western music have particular names. Combinations of notes constitute music. Some people can identify musical notes, such as A-sharp, C, or E-flat, just by listening to them. This uncommon ability is called perfect pitch.The ear is remarkably sensitive to low-intensity sounds. The lowest audible intensity or threshold is about 10−12 W/m2 or 0 dB. Sounds as much as 1012 more intense can be briefly tolerated. Very few measuring devices are capable of observations over a range of a trillion. The perception of intensity is called loudness. At a given frequency, it is possible to discern differences of about 1 dB, and a change of 3 dB is easily noticed. But loudness is not related to intensity alone. Frequency has a major effect on how loud a sound seems. The ear has its maximum sensitivity to frequencies in the range of 2000 to 5000