Db sharp

FrequencyHere is the list of chords, their notes, and frequency for the song Perfect:31 – G# (G-sharp major) chord: G#, B# (C), and D#26 – D# (D-sharp major) chord: D#, F## (G), and A#24 – C# (C-sharp major) chord: C#, E# (F), and G#23 – Fm (F minor) chord: F, Ab, and C1 – D#sus4 (D-sharp suspended fourth) chord: D#, G#, and A#The song follows a simple, repetitive progression. The intro and verse feature a repeating pattern of G#, Fm, C# and D# chords, creating a flowing, gentle rhythm.Perfect Piano Letter Notes and ChordsVerse 1Eb F Ab Ab~~~I found a |love |G#C*~ Bb Ab C*~~~for |me |FmBb C* C* C*~ Ab Ab~~~Darling, just |dive right in, |C#Ab Bb C* Bb~~~follow my |lead |D#C* Bb Ab C*~~~I found a |girl |G#Eb*~ C* Bb Ab~ Ab~~~beauti |ful and sweet |FmAb Bb C* Db*~I never |knew |C#Db* C*~ Bb Bb Ab~you were the someoneAb Bb C* Bb~~ C*~~waiting for |me |D#The melody is the heart of this Perfect song, requiring careful attention to phrasing and dynamics. To truly capture the emotion of the song, focus on playing with sensitivity and nuance.Pre-Chorus Eb* Eb* Eb* F*(Cause) we were just kidsC* Bb C*~~ C*~~ C*~~when we |fell in love |G#C* Bb Ab C*~~ C*~~ C*~~Not knowing |what it was, |FmC* Bb Ab Db*~~ C*~~ Ab~~I will not |give you up |C#Eb~~ C*~~ Db* C* Bb~~this |ti~ i ~ |me |G# |D#C* Bb Ab C*~~ C*~~ C*~~Darling just |kiss me slow, |G#C* Bb Ab C*~~ C*~~ C*~~your heart is |all I own |FmC* Bb Ab Db*~~And in your |eyes |C#C*~~ Ab~~ Eb Bb Ab Bb~~~you’re holding mi|ne |D#Chorus (Part 1)Eb*~~ C*~~ Ab~~~Baby, |I’m |FmAb*~ G* F*~ G* C*~~d|ancing in the |dark, |C# |G#Ab Eb*~ Db* C*~ Bb Ab~~~with |you between my |arms |D# |FmAb*~ G* F*~

Db, EbThe enharmonic equivalent of Ab major is G# major i.e., the same notes but written (notated) differently.G# major Scale Notes: Ab, Bb, C, Db, Eb, F, G, AbChords of the Ab (A Flat) Major Scale: Ab, Bbm, Cm, Db, Eb, Fm and Gdm (i.e., Ab major, Bb minor, C minor, Db major, Eb major, F minor and G diminished)Chords used for the song Perfect are: G#, Fm, C#, D#, and D#sus4Chord Details for PerfectHere are the notes, structure, formula, and note intervals for the Perfect Chords:To help you focus on the most frequently used chords in this song, we’ve listed and sorted them by how often they appear, making it easier to practice and understand the overall structure. The numbers in brackets indicate how many times that chord appeared in the song.G# Chord (31)G# (G-sharp major) chord notes: G#, B# (C), D#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)G# chord simplified notes: G#, C, and D#D# Chord (26)D# (D-sharp major) chord notes: D#, F## (G), A#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)C# Chord (24)C# (C-sharp major) chord notes: C#, E# (F), G#Structure: Triad (a three-note chord)Chord Formula: 1 – 3 – 5Note intervals: 1 (root note), 3 (major third), and 5 (perfect fifth)Fm Chord (23)Fm (F minor) chord notes: F, Ab, CStructure: Triad (a three-note chord)Chord Formula: 1 – b3 – 5Note intervals: 1 (root note), b3 (minor third), and 5 (perfect fifth)D#sus4 Chord (1)D#sus4 (D-sharp suspended fourth) chord notes: D#, G#, A#Structure: Triad (a three-note chord)Chord Formula: 1 – 4 – 5Note intervals: 1 (root note), 4 (perfect fourth), and 5 (perfect fifth)Chord Summary – Chord List, Notes and

Left side is relevant to the red S11 trace, and the zero for S21 is at the top of the screen. The markers show actual values.The red trace shows S11, which is the reflection from the filter. In places where the filter isn’t passing the signal, it’s being completely reflected. In this case, 0 dB is equal to a linear “1,” or complete reflection. In the places that have almost no reflection—where S11 is less than −20 dB—the signal is passing through the filter with very little loss.When speaking of filters, the measurement through the filter—the insertion loss—is the S21 reading within the passband and the return loss is the S11 measurement in the passband. Here, the insertion loss is 1.2 dB in the middle of the passband, and the return loss is better than 20 dB. Both numbers are traditionally stated as positive values, even though the S-parameters themselves are negative.Figure 4 shows measurements being taken on a Wi-Fi antenna. This antenna receives and transmits in the 2.4-GHz band. A one-port measurement of the antenna reveals a sharp dip in S11 at 2.42 GHz and reasonably low values across the measurement range (Fig. 5). Copper Mountain Technologies4. This is the measurement setup for a Wi-Fi antenna that receives and transmits in the 2.4-GHz band.Copper Mountain Technologies5. A one-port measurement of the antenna in Figure 4 shows a sharp dip in S11 at 2.42 GHz and reasonably low values across the measurement range.Because S11 shows very little reflection—or high return loss—across the Wi-Fi band, the stimulus signal from the VNA must be efficiently radiating away. This antenna is therefore functioning properly. The Touchstone Matrix S11 represents the ratio of the reflection back to Port 1 to the signal emitted by Port 1, and S21 is the ratio of the signal measured at Port 2 to the signal emitted by Port 1. Similarly, S22 is the ratio of the signal reflected back to Port 2 to the signal emitted by Port 2, and S12 is the ratio of the signal measured at Port 1 to the signal emitted by Port 2.