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More generally, an angle subtended by an arc of a curve is the angle subtended by the corresponding chord of the arc. For example, a circular arc subtends the central angle formed by the two radii through the arc endpoints. If an angle is subtended by a straight or curved segment, the segment is said to subtend the angle.
Equal chords are subtended by equal angles from the center of the circle. A chord that passes through the center of a circle is called a diameter and is the longest chord of that specific circle. If the line extensions (secant lines) of chords AB and CD intersect at a point P, then their lengths satisfy AP·PB = CP·PD (power of a point theorem).
Case: One chord is a diameter. Let O be the center of a circle, as in the diagram at right. Choose two points on the circle, and call them V and A. Draw line OV and extended past O so that it intersects the circle at point B which is diametrically opposite the point V. Draw an angle whose vertex is point V and whose sides pass through points A ...
The value of the two products in the chord theorem depends only on the distance of the intersection point S from the circle's center and is called the absolute value of the power of S; more precisely, it can be stated that: | | | | = | | | | = where r is the radius of the circle, and d is the distance between the center of the circle and the ...
All positions on the eye-level line except the point of tangency are outside of the circle, and therefore the angle subtended by the painting from those points is smaller. The point of tangency can be constructed by the following steps: [4] [5] Reflect the bottom point of the painting across the line at eye-level.
For arcs of more than 60°, the chord is less than the arc, until an arc of 180° is reached, when the chord is only 120. The fractional parts of chord lengths were expressed in sexagesimal (base 60) numerals. For example, where the length of a chord subtended by a 112° arc is reported to be 99,29,5, it has a length of
The omnibus progression in music is a chord progression characterized by chromatic lines moving in opposite directions. [1] The progression has its origins in the various Baroque harmonizations of the descending chromatic fourth in the bass ostinato pattern of passacaglia, known as the "lament bass". [2]
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.