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The katechon, which restrains his coming, was someone or something that was known to the Thessalonians and active in their time: "You know what is restraining" (2 Thes 2:6). As the Catholic New American Bible states: "Traditionally, 2 Thes 2:6 has been applied to the Roman empire and 2 Thes 2:7 to the Roman emperor [...] as bulwarks holding ...
The structures of the two letters (to which Best refers) include opening greetings (1 Thessalonians 1:1a, 2 Thessalonians 1:1–2) and closing benedictions (1 Thessalonians 5:28, 2 Thessalonians 3:16d–18) which frame two, balancing, sections (AA'). In 2 Thessalonians these begin with similar successions of nine Greek words, at 1:3 and 2:13.
"He who doesn't work, doesn't eat" – Soviet poster issued in Uzbekistan, 1920. He who does not work, neither shall he eat is an aphorism from the New Testament traditionally attributed to Paul the Apostle, later cited by John Smith in the early 1600s colony of Jamestown, Virginia, and broadly by the international socialist movement, from the United States [1] to the communist revolutionary ...
2 Thessalonians 2:8 ο κυριος (the LORD) – B D 2 1739 1881 Byz Irenaeus ο κυριος Ιησους (the Lord Jesus) – א A D* F G P Ψ 0278 33 81 104 365 1241 2464 latt syr cop Irenaeus lat Origen Didymus. 2 Thessalonians 2:13 θεου (God) – D* lat κυριου (Lord) – rell. 2 Thessalonians 2:13
3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I with tritone substitution (♭ II7 instead of V7) ii– ♭ II –I: 3: Major ii-V-I with ♭ III + as dominant substitute: ii– ♭ III + –I: 3: Mix. vii o 7 /V–V–I (common in ragtime) vii o 7 /V–V–I: 3: Major Andalusian cadence: iv–III– ♭ II–I: 4: PD Backdoor ...
Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the [diatonic] scale can have no tones in common. All other chords [in the diatonic scale] have common tones.
Triads (or any other tertian chords) are built by superimposing every other note of a diatonic scale (e.g., standard major or minor scale). For example, a C major triad uses the notes C–E–G. This spells a triad by skipping over D and F. While the interval from each note to the one above it is a third, the quality of those thirds varies ...
These chords are all borrowed from the key of E minor. Similarly, in minor keys, chords from the parallel major may also be "borrowed". For example, in E minor, the diatonic chord built on the fourth scale degree is IVm, or A minor. However, in practice, many songs in E minor will use IV (A major), which is borrowed from the key of E major.