Basic theory Natural Scale of Acorde of D (c) C-D-E-F-G-A-B-C existing Intervals between notes of the scale of D (c) CC#-DD#-E-FF#-GG#-AA#-B Obs: Inside of the basic rule, notes (MI) and B (ITSELF) do not possess Sustenido (#) the existing intervals between notes of the scale can be called Sustenidos (#), or Flats (b), depending on the order of the scale, either it, increasing, or, decreasing. Theoretically we can say that the natural scale of D (c) is not victim, that is, is a scale without alterations of Sustenidos (#) or Flats (b). The natural scale of D (c) follows a logical sequence: CC#-DD#-E-FF#-GG#-AA#-B-C the notes of the scale will have interval of 1 tone of one for another one, with exception of and B, that will have only the interval of half tone; C-C#-D D-D#-E E-F F-F#-G G-G# IT A-A#-B B-C (1 tone) (1 tone) (1/2 tone) (1 tone) (1 tone) (1 tone) (1/2 tone) This logical sequence will have to be used to discover the formation of the too much scales and its respective notes. The scale of D is followed then (REVERSE SPEED): IT DEPHASE the same scale Now, following the logical sequence; (CC#-DD#-E-FF#-GG#-AA#-B-C) Discovered D-E-F#-G-A-B-C#-D the scales inside of the logical sequence, we will go to apply to the scale, the chords that will be bigger and lesser. In turn, second, tera and the sixth chord of the scale will be lesser, excessively will be bigger, being able to have alterations in its pilgrim’s staff. 1 2 Former 6: D-in-F#m-G-ThE-BM-C#-d
The author affirms that the creation of this space is fruit of contradictions and tensions, therefore in it is involved the interests of the Capital in its diverse segments, of the force of work and the State. After to transit for the place, we were to the bridge of the salvation, way of access between the popular nesting Airton Sena and the quarter of Hunter, where one perceives the different forms to inhabit. While we see to the right edge a scene of poverty and pssimas habitability conditions, in the right edge of the Capibaribe what one sees they are luxurious building with requintes. For the Bridge of the salvation it is possible to have a sight over the barracos, that allows in them to analyze a little of the form of occupation of the ground, the alleys and the subdivided houses to more than receive a family in one same space. Of the one to perceive that the size of the houses is very small its walls not very high.
As it points Ribeiro: The popular production of the great cities is marked by the sign of the quotidiana fight and by situations of life that launch the poor population in situations without recognized legitimacy and legality (clandestine slum quarters, land divisions, informal commerce of street). The legal not-recognition of these conditions of the urban survival makes with that, in fact, either white permanent of the devices of repression and social control. To speech in this repression the author sends in them to the onslaughts against this type of habitation since the decade of 1960 (Campaign against the Mocambos), on the part of the governments in the three instances: municipal theatre, state and federal. Currently if it has not only a concern with the embelezamento of the cities, as in passed projects, but thanks to the social movements, if fight for projects that offer worthy conditions of housing for poor, allowing that also they can have quality of life for itself and for all of the community.
Of my person of inside I do not have notion of the reality. I know that the world exists, but do not know if I exist. … So that it is that world was given the exterior me as type of reality? Alberto Caeiro. The Love is integrant part of the story book Bows of Family of Clarice Lispector. Ana is about a narrative on the routine life of the personage, who if finds circumscribed to the sphere of the daily survival, where everything is planned, therefore ' ' She seemed to have discovered that all passvel age of perfectioning, to each thing if she would loan an appearance harmonious; the life could be made by the hand of homem.' ' 1. Inside of this reasoning, the world of the personage consists of a onrico and hallucinatory world, made to the image and the similarity of its necessities. He is this daily one of simple women, who live between flannels and brooms, that Sylvia Passion says to be transfigurado by the look of Clarice Lispector.
Clarice writes Love of complex and subjective form suggesting the visible and ostensive presence of its personality through perception that it possesss about the expectations of the women of that time, since the marriage, the home and the family were equivalent as in the story, to a controlable and previsible reality. The personage Ana, as well as diverse other women ' ' He creates in at last understandable exchange something, an adult life. Thus it wants and escolhera.' to it; ' 2 Very even so, the world comodamente forged in a controlable reality represents the longed for security, this exactly surrounding guard metaforicamente as a uterus, the embryo of another world that if announces. The perspective of Clarice consists of involving Ana in a fusing eu/mundo. Everything that Clarice made to belong to the environment of Ana, implies in an extension of this with the way which if inserts, disclosing self-centered and narcsico the attachment to everything that belongs to its Pasrgada.