C major chord hi-res stock photography and images

manual of an organ with cones on C major chord Stock Photo

RMM43N2W–manual of an organ with cones on C major chord

Orgelmanual mit Kegeln auf den Tasten des C-Dur Akkordes; manual of an organ with cones on the keys of the C major chord Stock Photo

RFJB2B0N–Orgelmanual mit Kegeln auf den Tasten des C-Dur Akkordes; manual of an organ with cones on the keys of the C major chord

Guitarist playing C Major Chord on classical acoustic guitar with nylon strings Stock Photo

RFKWEG47–Guitarist playing C Major Chord on classical acoustic guitar with nylon strings

Musician Hand in C Major Chord on Acoustic Guitar Stock Photo

RF2BTHB5H–Musician Hand in C Major Chord on Acoustic Guitar

RFRBJY09–Chord of C on guitar

Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view Stock Photo

RF2C2642N–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

A guitarist playing a C Major First Position Open Chord on an Acoustic Guitar with black background Stock Photo

RMDWN853–A guitarist playing a C Major First Position Open Chord on an Acoustic Guitar with black background

A right hand playing a C (DO) major chord on an old black piano with yellowed cracked keys, pressing the C (DO), E (MI), G (SOL) notes Stock Photo

RFRA220F–A right hand playing a C (DO) major chord on an old black piano with yellowed cracked keys, pressing the C (DO), E (MI), G (SOL) notes

C Chord played on an acoustic guitar Stock Photo

RMB0E49W–C Chord played on an acoustic guitar

Closeup of piano keys with C major chord pressed. 3d illustration Stock Photo

RF2HXPDC2–Closeup of piano keys with C major chord pressed. 3d illustration

RFWARK97–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

The Guitar Chord Of C Major Stock Vector

RFGMXJKH–The Guitar Chord Of C Major

An electric guitar neck with the chord shape for C major indicated with red buttons Stock Vector

RFF9MFHT–An electric guitar neck with the chord shape for C major indicated with red buttons

Ukulele tabulator with C major chord, vector illustration Stock Vector

RFTB74FC–Ukulele tabulator with C major chord, vector illustration

The hand of the guitarist on the fingerboard. Chord in C major Stock Photo

RFMR63YX–The hand of the guitarist on the fingerboard. Chord in C major

Harmony book for beginners; a text book and writing book for the first year's work, for class, private and self instruction, including scales, intervals, common chords, the dominant seventh chord and melody making . Play these over many times and endeavor to fix the effect firmly in the mind.Note the total difference between the Second Inversion and the First Inversion andhow both of these differ from the Positions. Once again let us recapitulate : C Major Chord Positions First Inversion Second Inversion. Stock Photo

RM2AKAPXH–Harmony book for beginners; a text book and writing book for the first year's work, for class, private and self instruction, including scales, intervals, common chords, the dominant seventh chord and melody making . Play these over many times and endeavor to fix the effect firmly in the mind.Note the total difference between the Second Inversion and the First Inversion andhow both of these differ from the Positions. Once again let us recapitulate : C Major Chord Positions First Inversion Second Inversion.

Guitar tabulator with chord C, vector illustration Stock Vector

RF2H2J718–Guitar tabulator with chord C, vector illustration

all five positons of c major pentatonic scale on electric guitar Stock Vector

RF2CBR0TD–all five positons of c major pentatonic scale on electric guitar

Image taken from page 353 of '[Journal de ce qui s'est passé à la tour du Temple pendant la captivité de Louis XVI, roi de France. [By J. B. C. Hanet-Cléry.]]' Image taken from page 353 of '[Journ Stock Photo

RMHK8039–Image taken from page 353 of '[Journal de ce qui s'est passé à la tour du Temple pendant la captivité de Louis XVI, roi de France. [By J. B. C. Hanet-Cléry.]]' Image taken from page 353 of '[Journ

Guitarist playing E Major Chord on classical acoustic guitar with nylon strings Stock Photo

RFKWEG75–Guitarist playing E Major Chord on classical acoustic guitar with nylon strings

image of guitar fret board and chord Stock Photo

RF2DAGXE6–image of guitar fret board and chord

RF2C2643F–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

RF2C2643R–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

RFRA21X8–A right hand playing a C (DO) major chord on an old black piano with yellowed cracked keys, pressing the C (DO), E (MI), G (SOL) notes

Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in side view Stock Photo

RF2C263W4–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in side view

RFRA22BB–A right hand playing a C (DO) major chord on an old black piano with yellowed cracked keys, pressing the C (DO), E (MI), G (SOL) notes

RFWARK9X–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

A right hand playing a F (FA) major chord on an old black piano with yellowed cracked keys, pressing the F (FA), A (LA), C (DO) notes Stock Photo

RFRA223K–A right hand playing a F (FA) major chord on an old black piano with yellowed cracked keys, pressing the F (FA), A (LA), C (DO) notes

Guitar tabulator with chord C Stock Vector

RF2HP65XC–Guitar tabulator with chord C

Closeup of piano keys with infinite long depth. Abstract 3d illustration. Selective focus Stock Photo

RF2HXPD8J–Closeup of piano keys with infinite long depth. Abstract 3d illustration. Selective focus

RFKP9CWJ–The Guitar Chord Of C Major

RF2H3PNT3–Guitar tabulator with chord C, vector illustration

Harmony, its theory and practice . Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord with *. Note that here the bass of the chor Stock Photo

RM2AWT1EW–Harmony, its theory and practice . Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord with *. Note that here the bass of the chor

finger music sound game tournament play playing plays played isolated closeup Stock Photo

RFJ84BE9–finger music sound game tournament play playing plays played isolated closeup

Guitarist playing D Major Chord on classical acoustic guitar with nylon strings Stock Photo

RFKWEG6M–Guitarist playing D Major Chord on classical acoustic guitar with nylon strings

RFWARKAR–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

RFRA21XX–A right hand playing a F (FA) major chord on an old black piano with yellowed cracked keys, pressing the F (FA), A (LA), C (DO) notes

RFRA22E0–A right hand playing a F (FA) major chord on an old black piano with yellowed cracked keys, pressing the F (FA), A (LA), C (DO) notes

Closeup of ditial piano on stand isolated on white. 3d illustration with copy space Stock Photo

RF2RTPFBA–Closeup of ditial piano on stand isolated on white. 3d illustration with copy space

Harmony, its theory and practice . At {a) is the chord of C major. At (Ji) an auxiliary note isadded in the treble, at (<:) in the alto, and at (d) in the bass.In each case the chord remains the chord of C. If auxiliarynotes are taken in treble and alto together, as at (<?), the C inthe bass still preserves the feeling of the chord, as do the E inthe alto of (/) and the C in the treble of {g). But if all threeauxiliary notes are taken together, as at 0i), the feeling of the * The rule given in this paragraph is almost universally observed bymodem composers. Bach, however, frequently adhe Stock Photo

RM2AWPHNK–Harmony, its theory and practice . At {a) is the chord of C major. At (Ji) an auxiliary note isadded in the treble, at (<:) in the alto, and at (d) in the bass.In each case the chord remains the chord of C. If auxiliarynotes are taken in treble and alto together, as at (<?), the C inthe bass still preserves the feeling of the chord, as do the E inthe alto of (/) and the C in the treble of {g). But if all threeauxiliary notes are taken together, as at 0i), the feeling of the * The rule given in this paragraph is almost universally observed bymodem composers. Bach, however, frequently adhe

RFWARKF1–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in close up view

A right hand playing a G# sharp (SOL#) major chord on an old black piano with yellowed cracked keys, pressing the G# sharp (SOL#), C (DO), D# sharp (R Stock Photo

RFRA3WFX–A right hand playing a G# sharp (SOL#) major chord on an old black piano with yellowed cracked keys, pressing the G# sharp (SOL#), C (DO), D# sharp (R

Harmony, its theory and practice . good example of adescending sequence. 227. As in marking our roots, we consider only the natureof the intervals above them, it is clear that the three chordsshown in our last example will be indicated thus:— at (a) thechord will be b; at {b) it will be yjWb; at (c) it.will be vb(not Vi5). The bVII shows that the usual seventh of the scale(the leading-note) has been lowered a semitone, and, as is seen,now takes a major common chord above it. As the pedal note,B, does not form a note of all, but only of some, of the chordsplaced above it, it is not reckoned Stock Photo

RM2AWRR37–Harmony, its theory and practice . good example of adescending sequence. 227. As in marking our roots, we consider only the natureof the intervals above them, it is clear that the three chordsshown in our last example will be indicated thus:— at (a) thechord will be b; at {b) it will be yjWb; at (c) it.will be vb(not Vi5). The bVII shows that the usual seventh of the scale(the leading-note) has been lowered a semitone, and, as is seen,now takes a major common chord above it. As the pedal note,B, does not form a note of all, but only of some, of the chordsplaced above it, it is not reckoned

RFWARKAE–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in side view

Harmony, its theory and practice . Ex. 119. Schumann. Parad.ise and the Peri.. Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord Stock Photo

RM2AWT1R4–Harmony, its theory and practice . Ex. 119. Schumann. Parad.ise and the Peri.. Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord

RFWARKA3–Guitar Player Hand or Musician Hand in C Major Chord on Acoustic Guitar String with soft natural light in side view

Modern harmony, its explanation and application . Ex. 153. Andantino. Same transposed to G.. Amongst the many modern experiments with new scales, none are more interesting and individual in results than those Scriabines used by Scriabine in his later works. Scriabines Scales, favourite chord is a Dominant thirteenth with a flattened fifth and a major ninth. Ex. 134. a) Chord, b) Scale. c) Derivation. i te=^ ^^ i33* r^ ^ ^ But it is more than a favourite chord; it is in a way his onlychord, from which he derives his scale and the whole of thematerial for his great tone-poem Prometheus. He selec Stock Photo

RM2ANG8X9–Modern harmony, its explanation and application . Ex. 153. Andantino. Same transposed to G.. Amongst the many modern experiments with new scales, none are more interesting and individual in results than those Scriabines used by Scriabine in his later works. Scriabines Scales, favourite chord is a Dominant thirteenth with a flattened fifth and a major ninth. Ex. 134. a) Chord, b) Scale. c) Derivation. i te=^ ^^ i33* r^ ^ ^ But it is more than a favourite chord; it is in a way his onlychord, from which he derives his scale and the whole of thematerial for his great tone-poem Prometheus. He selec

The art of counterpoint . Ex. 33. EXERCISES.Write counterpoint to subjects I to 6 inclusive, 9, 10, n, 37, and39 to 42 inclusive.. CHAPTER III. THIRD ORDER: MAJOR MODE. In this order, more than two notes are written in the countci-point against one in the subject. Four notes will first be discussed. These may represent the chord suggested by the first note, asthe following on C : Ex. 34 or, as in the second order, two chords may appear against one sub-ject note, one on the strong accent, and one on the weak: E =t Ex. 35. ^il]ll i6 THE ART OF COUNTERPOINT Here the chords are D and F. The whol Stock Photo

RM2AX4RN9–The art of counterpoint . Ex. 33. EXERCISES.Write counterpoint to subjects I to 6 inclusive, 9, 10, n, 37, and39 to 42 inclusive.. CHAPTER III. THIRD ORDER: MAJOR MODE. In this order, more than two notes are written in the countci-point against one in the subject. Four notes will first be discussed. These may represent the chord suggested by the first note, asthe following on C : Ex. 34 or, as in the second order, two chords may appear against one sub-ject note, one on the strong accent, and one on the weak: E =t Ex. 35. ^il]ll i6 THE ART OF COUNTERPOINT Here the chords are D and F. The whol

RM2AKATEA–Harmony book for beginners; a text book and writing book for the first year's work, for class, private and self instruction, including scales, intervals, common chords, the dominant seventh chord and melody making . bled (used twice). To recapitulate, we give below the Positions of the Chord of C, and the variousways in which the First Inversion may be written. Positions Fifth C Major ChordFirst Inversion First Inversion n O V & 1 /£ ° 3 & C^> & & #7 5 S © —rS— V ±J ^ X i©- XX EL • CJ €J & o &» » y o o o Root in Bass Third in Bass Third in Bass At the Chorda marked x it will be noted that

. Piano technic for children : including forty-four action songs, giving complete formative technical training. in the righthand the third finger on all black keys, the second finger on F and C and thethumb on all other white keys. In the left hand the third finger is placed on allblack keys, the second finger on B and E, and the thumb on all other white keys. No. 11. CHORD STUDIES (a) Legato (arm, with finger grasp). The complete cadence (extended form) in its three positions: major and minoimodes. ^ r¥^ S: t i t f-Ur4^ p M I !M ^N w i>8 hi i « a li>g ^^^ tzjj -o- 132 Tone Studies Note. Stock Photo

RM2AG56J4–. Piano technic for children : including forty-four action songs, giving complete formative technical training. in the righthand the third finger on all black keys, the second finger on F and C and thethumb on all other white keys. In the left hand the third finger is placed on allblack keys, the second finger on B and E, and the thumb on all other white keys. No. 11. CHORD STUDIES (a) Legato (arm, with finger grasp). The complete cadence (extended form) in its three positions: major and minoimodes. ^ r¥^ S: t i t f-Ur4^ p M I !M ^N w i>8 hi i « a li>g ^^^ tzjj -o- 132 Tone Studies Note.

. Harmony : a course of study . & §1111 N6 Both the fundamental position with the root doubled (see Example197 *) and the second inversion with the third doubled (^e Example197, b) are occasionally used, and all the positions of the chord maybe used in the major mode by the simultaneous lowering of the rootand fifth of the supertonic triad. (See Example 197, c.) 197.. Stock Photo

RM2CJ8606–. Harmony : a course of study . & §1111 N6 Both the fundamental position with the root doubled (see Example197 *) and the second inversion with the third doubled (^e Example197, b) are occasionally used, and all the positions of the chord maybe used in the major mode by the simultaneous lowering of the rootand fifth of the supertonic triad. (See Example 197, c.) 197..

. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . ined all the tones of the major scale. The tonality of the key is consequently definitelyestablished through the connection of those two chords (see 97). This chord is, after the dorainan-sept-chord 97 , the mildest discord of the major scale ^see 108—C). 113. Application of Sept-Chords. — In the application of the sept-chords the point most to be considered is the treatment of the funda-mental and seventh (108—N. B.). A.—In the collateral sept-chords the seventh must always be prepa Stock Photo

RM2CGHM2F–. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . ined all the tones of the major scale. The tonality of the key is consequently definitelyestablished through the connection of those two chords (see 97). This chord is, after the dorainan-sept-chord 97 , the mildest discord of the major scale ^see 108—C). 113. Application of Sept-Chords. — In the application of the sept-chords the point most to be considered is the treatment of the funda-mental and seventh (108—N. B.). A.—In the collateral sept-chords the seventh must always be prepa

. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . C *e) Ab *e) E major. Leading-tone (C maj.) *i) The Neighboring-note d must return to e, its principal tone. — *2) The unpreparedNeighboring-note will be explained in a later chapter. — *3) The embellishing group may-be thus extended by any leaps which conform to the chord. — *4) The upper Neighboring-note, before a descending progression. — *$) The lower Neighboring-note is possible, but lesssmooth in this connection. — *6) Whether the upper Neighboring-note is to be a whole Stock Photo

RM2CH4TMC–. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . C *e) Ab *e) E major. Leading-tone (C maj.) *i) The Neighboring-note d must return to e, its principal tone. — *2) The unpreparedNeighboring-note will be explained in a later chapter. — *3) The embellishing group may-be thus extended by any leaps which conform to the chord. — *4) The upper Neighboring-note, before a descending progression. — *$) The lower Neighboring-note is possible, but lesssmooth in this connection. — *6) Whether the upper Neighboring-note is to be a whole

. Programme . th full chords in thebrass and other strings, and each chord is echoed by the wood-wind.Flute and clarinet notes over a figure in the violas lead to a grad-ual crescendo ed accelerando, which introduces the Allegro moltovivace, B-flat major, 2-4. This begins at once with a brilliant firsttheme. The chief figure is taken from the initial horn and trumpetcall as Schumann originally wrote it. The development of the themeleads finally to a modulation to the key of C major, and there is thethought, naturally, of F major as the tonality of the second theme,but this motive given out by Stock Photo

RM2CHNJAB–. Programme . th full chords in thebrass and other strings, and each chord is echoed by the wood-wind.Flute and clarinet notes over a figure in the violas lead to a grad-ual crescendo ed accelerando, which introduces the Allegro moltovivace, B-flat major, 2-4. This begins at once with a brilliant firsttheme. The chief figure is taken from the initial horn and trumpetcall as Schumann originally wrote it. The development of the themeleads finally to a modulation to the key of C major, and there is thethought, naturally, of F major as the tonality of the second theme,but this motive given out by

. A system of harmony : founded on key relationship, by means of which a thorough knowledge of the rules that govern the combinations and successions of sounds may be easily acquired with or without a teacher . The chord G, B, D is treatedas subdominant of D, and is fol-lowed by the second inversion ofZ>, which is outside of the group. The three major chords may also be dominants; the first and fifthwithin the group, the fourth gives a transition, thus: h jf^TH 4 -0c -m- -s- -#- I^JS I ^=g? £3 £¥e=sa F, A, C, as dominant, fol-lowed by B>) D, F, out of thegroup. HARMONY. 13* A major chor Stock Photo

RM2CE237H–. A system of harmony : founded on key relationship, by means of which a thorough knowledge of the rules that govern the combinations and successions of sounds may be easily acquired with or without a teacher . The chord G, B, D is treatedas subdominant of D, and is fol-lowed by the second inversion ofZ>, which is outside of the group. The three major chords may also be dominants; the first and fifthwithin the group, the fourth gives a transition, thus: h jf^TH 4 -0c -m- -s- -#- I^JS I ^=g? £3 £¥e=sa F, A, C, as dominant, fol-lowed by B>) D, F, out of thegroup. HARMONY. 13* A major chor

. Orchestration . IR^ilC er CHffr I vMf JSf f gg Rit-terdort er an- er-kant so heh - rer Art doch Violinsin 4 parts. LOHENGRIN.. Mi I I!e r npir c g p c eP*ppp Gra - bes Se - gen, ent-hiilli muss er des Lai - en Au - ge fliehn In this passage the magical effect of the E major chord, which isleft as it were trembling in the air, is much enhanced by the stronglycontrasting tone-colours of the two previous bars. This familiarexample prompts an observation which is well worth the studentsattention. All Bowed Tremolos, whether p or /, have much less soundin them than the corresponding legatos or Fi Stock Photo

RM2CDERD9–. Orchestration . IR^ilC er CHffr I vMf JSf f gg Rit-terdort er an- er-kant so heh - rer Art doch Violinsin 4 parts. LOHENGRIN.. Mi I I!e r npir c g p c eP*ppp Gra - bes Se - gen, ent-hiilli muss er des Lai - en Au - ge fliehn In this passage the magical effect of the E major chord, which isleft as it were trembling in the air, is much enhanced by the stronglycontrasting tone-colours of the two previous bars. This familiarexample prompts an observation which is well worth the studentsattention. All Bowed Tremolos, whether p or /, have much less soundin them than the corresponding legatos or Fi

. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . -^ J yr^ V later: *=sz: e min. IV£- E maj. Haydn 2. Allegro. Et> major Par. 247. ENHARMONIC TRANSFORMATION OF THE DOM.-yTH. LESSON 64. 33 A. Harmonize the following melodies, introducing a chord of the dim.-7th at each *,with enharmonic exchange at the following *, as indicated by the key, and according to Exs.177 and 178: 1. J J|r »iHHflP ^E^ fc= m c£- Bb- 2. *- * * * * * * * * 4—U- g^^^Si^ frfr* #ts &? -i-p»- ►Efcfl d f- -Ab- |gfp^iS^^ •z± *l) c C- Eb- -eb- —Gb— a *i) Th Stock Photo

RM2CH7A3H–. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . -^ J yr^ V later: *=sz: e min. IV£- E maj. Haydn 2. Allegro. Et> major Par. 247. ENHARMONIC TRANSFORMATION OF THE DOM.-yTH. LESSON 64. 33 A. Harmonize the following melodies, introducing a chord of the dim.-7th at each *,with enharmonic exchange at the following *, as indicated by the key, and according to Exs.177 and 178: 1. J J|r »iHHflP ^E^ fc= m c£- Bb- 2. *- * * * * * * * * 4—U- g^^^Si^ frfr* #ts &? -i-p»- ►Efcfl d f- -Ab- |gfp^iS^^ •z± *l) c C- Eb- -eb- —Gb— a *i) Th

. Comparative embryology of the vertebrates; with 2057 drawings and photos. grouped as 380 illus. Vertebrates -- Embryology; Comparative embryology. COELOMIC SPACE ENTODERM. NOTO CHORD NEURAL E C T 0 D E R M VENTRAL MESODERM Fig. 219. Relationships of the major presumptive organ-forming areas at the end of gastrulation in the anuran amphibia. (A) External view of gastrula, showing the ecto- dermal layer composed of presumptive epidermis (white) and presumptive neural plate (black), as viewed from the dorsal aspect. (B) Diagrammatic median sagittal section of condition shown in (A). (C) Same as Stock Photo

RMREF81J–. Comparative embryology of the vertebrates; with 2057 drawings and photos. grouped as 380 illus. Vertebrates -- Embryology; Comparative embryology. COELOMIC SPACE ENTODERM. NOTO CHORD NEURAL E C T 0 D E R M VENTRAL MESODERM Fig. 219. Relationships of the major presumptive organ-forming areas at the end of gastrulation in the anuran amphibia. (A) External view of gastrula, showing the ecto- dermal layer composed of presumptive epidermis (white) and presumptive neural plate (black), as viewed from the dorsal aspect. (B) Diagrammatic median sagittal section of condition shown in (A). (C) Same as

. Elementary text-book of zoology. 540 CHORD AT A. ^'g* 373.—Ventral View of Skeleton of Mole x 2^, (From Flower and Lvddeker.). c.h,^ Articulation of humerus with cL, clavicle; sJi., ditto with scapula; e.c.y external condyle of humerus ; f., femur ; yi., fibula; yt., falciform bone; /t, humerus ; zV., left ilium ; i.p., ramus of ilium and pubes ; /.ei., ridge of latissimus dorsi muscle ; /.t., lesser trochanter ; m., manubrium terni; /.77/., ridge of pectbralis major muscle ; /A, pectineal ridge; r^., first rib; j-., plantar sesamoid of hind-limb; ^., tibia.. Please note that these images ar Stock Photo

RMRDHJBD–. Elementary text-book of zoology. 540 CHORD AT A. ^'g* 373.—Ventral View of Skeleton of Mole x 2^, (From Flower and Lvddeker.). c.h,^ Articulation of humerus with cL, clavicle; sJi., ditto with scapula; e.c.y external condyle of humerus ; f., femur ; yi., fibula; yt., falciform bone; /t, humerus ; zV., left ilium ; i.p., ramus of ilium and pubes ; /.ei., ridge of latissimus dorsi muscle ; /.t., lesser trochanter ; m., manubrium terni; /.77/., ridge of pectbralis major muscle ; /A, pectineal ridge; r^., first rib; j-., plantar sesamoid of hind-limb; ^., tibia.. Please note that these images ar

. Elementary text-book of zoology [electronic resource]. Zoology. 5^8 CHORD AT A Fig. 326.—Ventral View of Skeleton of Mole x ^. (From Flower and Lyddeker.). c.A., Articulation of humerus with c/., clavicle; s.h., ditto with scapula; e.c, external condyle of humerus ; femur ; fb., fibula ; fc, falciform bone; h;, humerus iL, left ilium ; ramus of ilium and pubes ; Id., ridge of latissimus dorsi muscle Lt., lesser trochanter ; manubrium terni; pfu., ridge of pectoralis major muscle pL, pectineal ridge ; rb., first rib; 5., plantar sesamoid of hind-limb; A, tibia.. Please note that these images Stock Photo

RMRJN770–. Elementary text-book of zoology [electronic resource]. Zoology. 5^8 CHORD AT A Fig. 326.—Ventral View of Skeleton of Mole x ^. (From Flower and Lyddeker.). c.A., Articulation of humerus with c/., clavicle; s.h., ditto with scapula; e.c, external condyle of humerus ; femur ; fb., fibula ; fc, falciform bone; h;, humerus iL, left ilium ; ramus of ilium and pubes ; Id., ridge of latissimus dorsi muscle Lt., lesser trochanter ; manubrium terni; pfu., ridge of pectoralis major muscle pL, pectineal ridge ; rb., first rib; 5., plantar sesamoid of hind-limb; A, tibia.. Please note that these images

. Bulletins of American paleontology. Climatic and Anthropogenic Impacts: Willard et al. 53 SITE 7 Radiometric Dales ^ '*-'" ^^ - 1900 AD 280 - 400 AD # ^.- ^-^-^ „6^. 0 10 20 30 40 PERCENT ABUNDANCE 10 20 30 40 50 60 70 80 90 cr IV c IV d2 IV C Dwarf Mangroves IV d2 IV a Brackish and II Freshwater IVIarshes IV a IV d1 IV d2 SQUARED CHORD DISTANCE Wet Prairies/ Sparse Sawgrass fitarshes ^^ Myrica I— 1 Asteraceae Text-figure 8.—Percent abundance of pollen of major plant groups at site 7. Taylor Creek. SCD values show lowest squared chord distance values for modern analogs; SCD <0.15 are Stock Photo

RMRGA857–. Bulletins of American paleontology. Climatic and Anthropogenic Impacts: Willard et al. 53 SITE 7 Radiometric Dales ^ '*-'" ^^ - 1900 AD 280 - 400 AD # ^.- ^-^-^ „6^. 0 10 20 30 40 PERCENT ABUNDANCE 10 20 30 40 50 60 70 80 90 cr IV c IV d2 IV C Dwarf Mangroves IV d2 IV a Brackish and II Freshwater IVIarshes IV a IV d1 IV d2 SQUARED CHORD DISTANCE Wet Prairies/ Sparse Sawgrass fitarshes ^^ Myrica I— 1 Asteraceae Text-figure 8.—Percent abundance of pollen of major plant groups at site 7. Taylor Creek. SCD values show lowest squared chord distance values for modern analogs; SCD <0.15 are

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