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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.
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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
For example, 1 Thessalonians 2:9 is almost identical to 2 Thessalonians 3:8. This has been explained in the following ways: Paul wrote 2 Thessalonians soon after writing 1 Thessalonians or with the aid of a copy of 1 Thessalonians, or Paul wrote 1 Thessalonians himself but a later writer imitated him, or the linguistic similarities are seen as ...
The ChordPro (also known as Chord) format is a text-based markup language for representing chord charts by describing the position of chords in relation to the song's lyrics. ChordPro also provides markup to denote song sections (e.g., verse, chorus, bridge), song metadata (e.g., title, tempo, key), and generic annotations (i.e., notes to the ...
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In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in
The practice of adding tones may have led to superimposing chords and tonalities, though added tone chords have most often been used as more intense substitutes for traditional chords. [3] For instance a minor chord that includes a major second factor holds a great deal more dramatic tension due to the very close interval between the major ...