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This gives the SCE a potential of +0.248 V vs. SHE at 20 °C and +0.244 V vs. SHE at 25 °C, [1] but slightly higher when the chloride solution is less than saturated. For example, a 3.5M KCl electrolyte solution has an increased reference potential of +0.250 V vs. SHE at 25°C while a 1 M solution has a +0.283 V potential at the same temperature.
While the SHE might seem to be a reasonable reference for nonaqueous work as it turns out the platinum is rapidly poisoned by many solvents including acetonitrile [3] causing uncontrolled drifts in potential. Both the SCE and saturated Ag/AgCl are aqueous electrodes based around saturated aqueous solution.
During the early development of electrochemistry, researchers used the normal hydrogen electrode as their standard for zero potential. This was convenient because it could actually be constructed by "[immersing] a platinum electrode into a solution of 1 N strong acid and [bubbling] hydrogen gas through the solution at about 1 atm pressure".
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The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths , the most suitable chord to precede the I chord is a V chord.
One way is to simply use the word 'add', for example, C add 9. The second way is to use 2 instead of 9, implying that it is not a seventh chord, for instance, C 2. Note that this provides other ways of showing a ninth chord, for instance, C 7add 9, C 7add 2, or C 7/9. Generally however, this is shown as simply C 9, which implies a seventh in ...
The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: The first and last chords of the Symphony of Psalms are famous.
Jazz soloing instruments that can play chords, such as jazz guitar, piano, and organ players may use substitute chords to develop a chord solo over an existing jazz tune with slow-moving harmonies. Also, jazz improvisers may use chord substitution as a mental framework to help them create more interesting-sounding solos.