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Page "Harp" ¶ 23
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There and was
There was more to this than Jones had told him.
There was no one but me.
There was a ragged volley.
There was only one place where Jake Carwood's description had gone badly awry: the peace and quiet.
There was brush, and stands of pine that no grass could grow under, and places so steep that cattle wouldn't stop to graze.
There was an artificial lake just out of sight in the first stand of trees, fed by a half dozen springs that popped out of the ground above the hillside orchard.
There was no chance.
There was no moon.
There a dozen giant monitors played their seventy-five-foot jets of water against the huge seam of tertiary gravel which was the mountainside.
There was only one place where the mountain might receive her -- that unnamed, unnameable pool harbored in its secret bosom.
There was a peculiar density about it, a thick substance that could be sensed but never identified, never actually perceived.
There was some idle talk, a listless discussion of this or that small happening during the day's drive.
There was to be no gunplay.
There was a light in Black's front room, but drawn curtains prevented any view of the interior.
There was no lock on the door, only an iron hook which he unfastened.
There was raw fury in his eyes, and the veins of his neck were swollen.
There was a feeling that this mission would be canceled like all the others and that this muddy wet dark world of combat would go on forever.
There was not enough room to make the usual vertical bomb run.
There was, of course, no way for the other planes to get by them.
There was no time to pick out a penny ; ;
There was a blur just under my focus of vision, a crash ; ;
There had been a good second or two during which my muffler had been blowing out, and now I was certain I'd seen her somewhere before.
There was something about the contour of her face, her smile that was like New Orleans sunshine, the way she held her head, the way she walked -- there was scarcely anything she did which did not fascinate me.

There and chromatic
There are many types of harmonicas, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions.
There are also other chord harmonicas, such as the Chordomonica ( which operates similar to a chromatic harmonica ), and the junior chord harmonicas ( which typically provides 6 chords ).
There are two types of chromatic aberration, axial ( longitudinal ), and transverse ( lateral ).
There exists a point called the circle of least confusion, where chromatic aberration can be minimized.
There are a few different makers of the chromatic kalimba.
There is another simpler chromatic variant design having a double structure consisting of a diatonic kalimba on top and another kalimba on the bottom for the missing accidentals.
There trivially exist graphs G with χ < sub > H </ sub >( G ) > χ ( G ) ( where χ is the chromatic number ); one example is the path of length 2, which can be 2-colored but has no harmonious coloring with 2 colors.
There is then a frenetic chromatic transition passage as the music subsides and modulates into a tranquil second subject theme in G major.
There are higher order chromatic aberrations, such as the dependence of magnification on color.
There is the downside of the potential for chromatic aberration due to the refractive elements, but it is hardly noticeable.
There is extreme spherical and some chromatic aberration outside the central sweet spot.

There and harp
There was an ancient Chinese harp called konghou ; the name is also now used for a modern Chinese instrument which is being revived.
There are seven pedals, each affecting the tuning of all strings of one pitch-class, and each pedal is attached to a rod or cable within the column of the harp, which then connects with a mechanism within the neck.
There are differing schools of technique for playing the pedal harp.
There is a prominent harp part in " She's Leaving Home " by The Beatles in their 1967 album Sgt.
There is stone carving evidence that the lyre and / or perhaps a non-triangular harp were present in Ireland during the first millennium.
There are two major classes of cable-stayed bridges: In a harp design, the cables are made nearly parallel by attaching them to various points on the tower ( s ) so that the height of attachment of each cable on the tower is similar to the distance from the tower along the roadway to its lower attachment.
There are also six purely electronic interludes created by computer manipulation of harp sounds.
There is a Jew's harp monument in the town.
There is also sometimes a Mexican folk harp which can provide bass as well as ornament the melody.
There are many theories for the origin of the name Jew's harp.
There are ballads and laments, generally sung by a lone singer with backing, or played on traditional instruments such as harp, fiddle, accordion or bagpipes.
There was no harp tradition as was otherwise prevalent in Celtic music.
There are certain synth instruments that recur across the entire genre: a sequenced octave bass, characteristic are the energetic ( sometimes wild ) and heavy use of synths, distinctive brass and harp sounds, and tight, predictable percussion in the background.
There are twelve " natural positions " ( one for each semitone ), numbered from 1st position as given ( on a standard 10-hole diatonic ) by the note on the 1 blow and going up round the cycle of 5ths-so on a C harp, 1st position gives C, 2nd position G, 3rd D, 4th A etc.

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