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Find Gun Value By Serial Number __LINK__

While every effort has been made to ensure that the information provided on serial numbers and dates of manufacture are accurate, records on early production models such as the Auto-5 and Superposed shotguns were not included due to the complexity of numbers, models and grades offered. Also, there have been unique limited-edition models that did not follow our regular serial number configurations and they are not included in this listing.

find gun value by serial number

Hill, Tracie (et al). Thompson: The American Legend (Collector Grade, 1996). Profusely illustrated and very detailed book on the Tommy gun, going so far as listing the serial numbers of the entire 15,000-gun production run, with their known buyers.

[37] The music for No. 8, however, does not retain the symmetry of its serial material. First, Nono manually overrides serial values. Several individual durations (thirteen to be exact) do not match the rearrangement scheme. Of these, eight are very close (within one factor) to the scheme. The movement also omits two consecutive notes in the scheme from the second collection beginning at measure 535. Manual overrides exhibited here do not appear to contribute to multidimensional density, but their occurrence resonates with a spirit of extreme distortion in other realms.

[38] Rest-displacement systemically overrides the ordering of durations. Box 10 of Example 6 contains the first four members of the AIW (pcs-9, t, 8, and e). The rest-displacement system, shown byBoxes 10-15, causes the pc-e (3/7 rest) to appear before the pc-8 (2/3 rest) rather than after. By the end of the movement, the rest-displacement system becomes manually overridden. Table 6 shows rest-displacement values for the final nine statements of serial material (i.e., the final quarter of the movement). The system generally governs pitches in pairs rather than individually. Beginning at measure 532, for example, the first note in each pair shows incremented rest-displacements. The second note in each pair arrives 3 duration factors after the first (for pcs-9 through 1), then 4 (pcs-5 and 2), and then 5 (pcs-4 and 3). The final four pitch-classes in each series generally follow the preceding eight at some distance, I have calculated their displacement from a distinct point of reference. The mode of displacement changes for each subsequent twelve-tone collection, as well as within each collection between the first four pairs and the final two.(48)

[39] Beat-divisions distort the inherent symmetry of serial material even further. Example 7 shows the progress of duration material throughout the movement. Peaks and valleys depict the average duration for each of the thirty-six collections; the vertical axis depicts notated durational values in terms of quarter-note lengths. Collection 26 (beginning within measure 528) features a dramatic dip in average duration because the smallest beat-division (1/7) remains active for the entire collection. The dip in Collection 26 does not find itself reflected in the movement, and thus the contour of the graph exhibits a noticeable asymmetric shape.

[40] Other dimensions enhance the through-composed nature of the movement. Example 8 shows the average dynamic range for each collection throughout the movement. The vertical axis depicts a linear scale of nineteen implemented dynamic indications, where 1=ppp and 19=fff. Intermediate values are ranked according to the loudest dynamic marking that is used; for example, the indication p-f is ranked below p-fff. As can be seen, several large-scale crescendi and decrescendi carve out an asymmetric pattern, although Collections 10 and 27 appear to invert each other. Octave placement also resists symmetry.Example 9 shows the average octave range for each collection (octave ranges correspond to ASA pitch designations; i.e., middle C begins Octave 4), again revealing an asymmetric pattern. For instance, the dip in Collection 30 seems at odds with the peaks in Collections 10 and 26. Finally, instrumentation even seems to contribute to the global defiance of symmetry. In an effort to convey instrumentation as an average value, I have assigned the values 1 through 28 to each instrument in the orchestra, grouping them by family (i.e., winds, brass, and percussion; strings do not play in this movement).Example 10, whose vertical axis only ranges from 1 to 25, shows the average timbral value per serial collection. Wind instruments (flutes, oboes, clarinets, bassoons) hold the lowest values (1 through 11), horns occupy medium values (12 through 17), trumpets and trombones assume high values (18 through 26), and timpani possess the top values (27 and 28). A prevalence of one instrumental family will affect the average value. For instance, the deepest valleys in the figure mark sections devoid of or sparsely populated by brass instruments (Collections 6, 17, and 26). Similarly, a high average value signals the presence of many brass instruments (Collections 8, 11, 14, and 30). All told, the orchestration does not establish a symmetric, or even a recurrent, pattern. Further, individual dimensions do not synchronize with each other.


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