Form D-Vii: Fill & Download for Free

Once upon a time, tere was a “battle” between the monoplane, the biplane, and the triplane.It was 1931.A leading aviation magazine wrote:The present popularity of the monoplane has so obscured the other two types in the public mind that the many inherent advantages of the biplane and triplane have largely been forgotten or ignored in most civilian constructions.It is interesting and instructive to note in this regard, that while the civilian tendency is directed almost exclusively toward the monoplane, yet the biplane still remains the standard ship in our army and navy air service where performance is paramount and where cost is only a secondary factor.It might be said without much dispute that the present popularity of the monoplane began shortly after the Lindbergh transatlantic flight and that the great majority of modern planes are offshoots from the "Spirit of St. Louis."This exploit marked a great change in design, which from many stand-points cannot always be regarded as a great advance in aviation, and the whole performance savored of faddism, copyism or what you like.The old true and tried biplane was rejected for the somewhat fickle and unstable monoplane in all sizes and types ranging from mosquito light planes driven by motorcycle engines to the heavy freight carrying transports.▲Lockheed Vega, 1928Practically the only ship not displaced by the monoplane was the two and three-seated open-cockpit trainers for students.At the beginning of World War I there were many monoplanes in active service, particularly in the French air service.The Borel-Morane monoplane was a prominent example and there were also various monoplanes behind the German lines as well.Gradually, the biplane forged to the front and superseded the monoplane until at the end of the war practically all of the machines were of the biplane type regardless of size or condition of service.▲Aircraft of World War I: 1914-1918In 1918-1919 there was intensive experimental work being carried out with triplane structures. Curtiss produced a small triplane "scout" while a small high-speed Fokker triplane was frequently seen along the German lines near the close of the war.Therefore, after exhaustive experimentation by the military authorities, it was decided to continue with biplanes, even triplanes rather than monoplanes, and the same trend followed in most military services.In all branches of the air service, the biplane almost completely displaced the monoplane, even when the monoplane was a prevailing type at the beginning of hostilities.The Fokker ScourgeFighters in the early years of the war were used in fighter-to-fighter combat. Their basic mission was to protect the heavier two-seater observation planes which had already proven their merit in photo recon behind the lines and directing artillery fire. History has been warped somewhat by the media fascination of aces flying fighters while the real work was being done by the much less aggrandized two-seaters.No sooner had the war in the air become more serious, more deadly, in early 1915, than both Allied and German airmen were trying to find a successful way of fighting each other in order for each side to stop the other making reconnaissance and artillery observation sorties over the opposition's side of the lines.Various ingenious schemes, which had limited success, were suddenly over-shadowed by the arrival at the front in the summer of 1915 of the Fokker Eindecker, which had a synchronized machine gun firing through the whirling blades of the propeller.The Fokker Eindecker, when it first appeared in the early years of the war, was a fearsome enemy because of its ability to fire its machine gun through its propeller (fitted with a synchronization gear).▲The Eindecker monoplane, a fragile contraption held together with cables and faith and no acrobatic tiger, ruled the skies at the start of WWI.▲The Eindecker’s “firing through the propeller” machine gunThe Fokker Eindecker—the name simply means "monoplane"—was the so-called "Fokker Scourge" or Fokker Terror of 1915-16. It was the first true fighter, with a fixed machine gun firing forward through the propeller by means of the Fokker-designed interrupter gear that blocked the gun's firing mechanism each time a propeller blade passed in front of the barrel. Aiming the gun by aiming the airplane greatly simplified the task of the solo pilot. The great German aces—Immelmann, Boelcke, Udet—flew the Eindecker, and a British ace, James McCudden, recalled that he "had imagined that if once Immelmann on his Fokker saw us there was not much chance for us."The Eindecker: a mass of cablesStill, it was a primitive machine by the rapidly-evolving standards of the war. It had no ailerons, but turned with a combination of rudder and wing warping. Its rotary engine had no throttle—no rotary did—but lacked even the ability of later rotaries to switch off ignition to various numbers of cylinders. The Eindecker was either running at full throttle or not running at all.Spread amongst German two-seater reconnaissance units in ones and twos, those disposed to flying these first single-seater fighting aeroplanes, if they were successful, soon became famous and the first aces of this new form of aerial warfare. Names such as Boelcke, Immelmann, Wintgens, Parschau, Mulzer, Höhndorf, Frankl and von Althaus quickly became the first aces, the first heroes to the German public and the first winners of the coveted Pour le Mérite — the famed Blue max.The Eindecker gave the German Air Service a degree of air superiority from July 1915 until early 1916. This period, during which Allied aviators regarded their poorly armed aircraft as "Fokker Fodder", became known as the "Fokker Scourge". The arrival in early 1916 of the Airco DH.2 and Royal Aircraft Factory F.E.2 pusher aircraft, along with the French Nieuport 11, brought the dominance of the Eindecker to an end, and with it, the "Fokker Scourge".Also needed in fighter plane design was agility in dogfights. And so the biplanes and triplanes were back in business. French ace Georges Guynemer used a Nieuport 17 sesquiplane (sesqui = one and a half) , a biplane whose lower wing is much smaller than the upper one to improve visibilty.▲Nov 1916; Richtofen in his Albatros D II duels with the British ace, Major L.G.HawkerThis World War I plane and its "V-strutter" successor, the D III, were largely responsible for German air supremacy during the Winter of 1916-17. Powered by a 160-horsepower Mercedes engine, the Albatros D II had a top low-level speed of 110 mph and an initial rate of climb in excess of 1000 feet per minute. Synchronized twin Spandau machine guns were mounted forward of the cockpit. A noteworthy action involving the D II was that between Baron von Richthofen and Major Lanoe G. Hawker. This English flier, who had already won the Victoria Cross for his daring feats, was to be the first real test of Richthofen's ability. On November 23, 1916, following a general engagement of De Havilland 2's from R.F.C. No. 24 Squadron and Albatros D 11's of "Jagdstaffel Boelcke", Richthofen and Hawker found themselves engaged in a man-to-man duel. The action began with Hawker on the Baron's tail, firing a short burst from his single Lewis gun. Banking sharply, Richthofen tried unsuccessfully to reverse their positions. They then began chasing one another in ever tightening circles and looping maneuvers with neither being able to line up a telling shot. But the odds were against Hawker and his agile but slow DH-2 since they were gradually drifting further behind German lines. Finally, running low on both gas and altitude, the gallant Briton broke off, making for home . . . zigzagging to avoid the pursuing Richthofen. The British Ace almost escaped. But Richthofen and the superior Albatros won. Hawker fell mortally wounded just before the Allied lines. Manfred von Richthofen had achieved his eleventh victory. He had also demonstrated the skill and calculating purpose that was to make him the war's highest scoring ace . . . and the renowned, first commander of Germany’s famed "Jagdgeschwader Nr. 1" or "Flying Circus".▲The Fokker D VII biplane replaced the Eindecker monoplane in the later stages of the war.In February of 1917 the first triplane fighter entered the service, a British Sopwith which saw only limited use with the British Royal Navy, a forerunner of the famed Sopwith Camel.It didn't take long before Anthony Fokker was flying his famous Dr I triplane, powered with an Oberursel rotary.Amid the continuous struggle for aerial superiority during World War 1, two aircraft types were at the forefront.Both rotary-engined fighters, the Sopwith Camel and the Fokker Dr I triplane were relatively slow for their time, but were regarded as the most maneuverable machines produced during the conflict, and the classic pair for a tight, evenly matched dogfight at close quarters.Top-scoring German ace Manfred von Richthofen, known as the Red Baron, flew a red Fokker triplane and in fact met his death while flying one.Tightly maneuverable with an outstanding initial rate of zoom climb, the Fokker had no flying wires between the wings. Fokker had not yet introduced cantilevered wings, and the rotary engine, although used by the French and the British as well, was still not the ideal powerplant for fighter planes.The triplane was slow.Fokker had the answer to these problems right at hand. In his Fokker D VII he installed the in-line six-cylinder air-cooled Mercedes engine.First seen over the Western Front during World War I in April of 1918, the Fokker D VII was so deadly that it was the only airplane mentioned in the Peace Treaty of Versailles. All examples of the Fokker D VII were to be handed over to the Allies, and no more were to ever be made by the Germans, along with the Zeppelin airships.Fokker is credited with building the first production aircraft using internally braced fully cantilever wings. The wings of his D VII biplane had a spar that ran from tip to tip.The Fokker D VII had no external bracing between the wings. It had only a wide-spread set of cabane struts attaching the upper wing to the fuselage and a pair of outer-plane N struts. His fighter was utterly clean of external bracing wire between the wings.▲Sep, 1917: Werner Voss in his Fokker DR-I triplane takes on seven S.E.5s.In designing this German scout of World War I, Anthony Fokker was seeking climb and maneuverability. He achieved it to a remarkable degree. For his Triplane ranked with the Sopwith Camel as one of the supreme "dogfighters" of the War. Powered by a 110-h.p. Oberursel rotary engine, the Dr. 1 had a top speed of about 115 m.p.h. and an initial rate of climb of almost 2,000 feet per minute. The short span of its three wings made it unbelievably quick and agile. The Fokker Triplane was associated with many notable German fliers, including von Richthofen; but few flew it so well or with such spectacular success as Lieutenant Werner Voss. In one three-week period he gained 23 victories with it. Voss' last encounter was an epic air engagement. Late in the afternoon of September 23, 1917, he found himself in the midst of seven S.E. S's being flown byMcCudden, Rhys-Davids and five other veterans of the British 56th Squadron. Without the least hesitation, he took on the seven opponents and started an engagement that was to last for 20 minutes. Early in the struggle he was aided by an Albatros Scout, but it soon fell out of control. Though hopelessly outnumbered, Voss continued on alone ... never trying to break away. Through skillful flying, using maneu-vers his adversaries had never seen before, he managed to avoid destruction, while he scored hits on every one of his assailants. Against less experienced pilots, Voss might have gotten away with it. But he was up against the best. The end finally came as Rhys-Davids managed a clear shot at the elusive Triplane. Werner Voss, unbelievably brave and skillful, went down for his last landing. He had 48 accredited victories.It is assumed, but only true in part, that a monoplane wing is more efficient than an arrangement in which two or three layers of wings are superposed upon each other.This is very true from a strictly aerodynamic standpoint for the reason that there is a most decided interference between the various surfaces of a multiplane, and a corresponding loss in the lifting capacity where two or three layers of wings are employed.This, of course, calls for more power and more fuel, which in turn decreases the possible cruising radius of the ship.On the other hand, and balanced against the interference loss are certain advantages such as the better aspect ratio and the lighter wings, so that the total or overall efficiency of a multiplane is not so very far from monoplane efficiency, all factors considered.Interplane bracing heretofore employed on biplanes creates a considerable amount of useless parasitic resistance, and therefore, that the self-supporting cantilever monoplane wing is again more efficient. As a matter of fact, properly designed interplane resistance contributes little head resistance, and again, there is no real reason why the wings of biplanes and triplanes cannot be made of the cantilever type as well as monoplane wings.In the late 1920s a number of biplanes with self-supporting wings were built. Among them was the old Curtiss "Wireless," and a ship known as the Christmas.It was thought that if the size of transport planes was to increase in the future, it seemed almost certain that the triplane arrangement would be adopted eventually in order to hold the wing dimensions within reasonable limits and to obtain the other advantages outlined above.They should have seen the Boeing 777 wing today!Further, in those days a triplane structure adapted itself admirably to the installation of large wing motors, for the interplane bracing very greatly reduced the bending moments so troublesome with cantilever wing monoplanes.There is no doubt that a triplane wing assembly is less efficient than a monoplane wing aerodynamically.Metal construction, high-strength alloys, and higher efficiencies eventually killed off the multiwing airplane construction technique for general usage.▲The all-metal cantilever wing Boeing 247 ended once and for all the era of biplane and triplane transports. Ironically, it itself was superseded very soon by the Douglas DC-series airplanes.“IN the mad quest for the improvement of alleged aerodynamic efficiency, the amateur designers of lightplanes have more or less ignored the many excellent qualities of the triplane. This seems strange, in one sense, for compactness in a lightplane is as much a virtue as the conservation of a few gallons of gasoline. The dollars and cents saving effected in storage space by the triplane arrangement is an economy of the first order”, wailed an amateur-airplane-building magazine.But what was the use?Gradually, the science of aerodynamics got its “feet on the ground.”Aircraft manufacturers began to turn out planes which were fully calculated mathematically.With formation of aerodynamic laws, the biplane gave way to the monoplane. Drag was decreased in major proportions.

There are total three list in VII schedule in Constitution of India. The State government have power to make laws on the subject of alcohol as it falls within the State list.Thus, the answer is clear that since state governments are generating revenues after levying tax on alcohol, the state governments will continue to do that. However, their are exceptions to it as consumption of alcohol is prohibited in the states of Gujrat, Bihar and Nagaland and Union territory of Lakshadweep.

Some of my favorite chord progressions.Circle of fifths progressions are an example of something AI enjoy quite a bit, especially if you cycle through multiple keys.I will start with ii V I chords in all 12 keys. This can be applied very easily to jazz.ii V I’s In All 12 KeysKey of C: Dm7 G7 Cmaj7Key of F: Gm7 C7 Fmaj7Key of Bb: Cm7 F7 Bbmaj7Key of Eb: Fm7 Bb7 Ebmaj7Key of Ab: Bbm7 Eb7 Abmaj7Key of Db: Ebm7 Ab7 Dbmaj7Key of Gb: Abm7 Db7 Gbmaj7Key of B: C#m7 F#7 Bmaj7Key of E: F#m7 B7 Emaj7Key of A: Bm7 E7 Amaj7Key of D: Em7 A7 Dmaj7Key of G: Am7 D7 Gmaj7A very cool longer form of the above chord progression that you can play through all 12 keys is theIV vii iii vi ii V I progressionIn the key of C this progression is :F Bm7(b5) Em Am Dm G7 Cprogressing in 4ths gives usBb Em7(b5) Am Dm Gm C7 FEb Am7(b5) Dm Gm Cm F7 BbAb Dm7(b5) Gm Cm Fm Bb7 EbDb Gm7(b5) Cm Fm Bm Eb7 AbGb Cm7(b5) Fm Bm Em Ab7 DbCb Fm7(b5) Bbm Ebm Abm Db7 GbE A#m7(b5) D#m G#m C#m F#7 BA D#m7(b5) G#m C#m F#m B7 ED G#m7(b5) C#m F#m Bm E7 AG C#m7(b5) F#m Bm Em A7 DC F#m7(b5) Bm Em Am D7 Gand so on…..The defining trait of the Lydian Pop-Rock progression is a major II chord resolving to a major IV chord.The Beatles were likely the first to have made use of II-IV, featured in 8 Days a Week and You Won't See Me as I-II-IV-I, creating a bright but bluesy lead-in to a plagal cadence. You can also hear II-IV in the intro to Boys are Back in Townby Thin Lizzy and in songs by many other artists.Most of the time when you see a major II chord in a song, it's followed by the V chord. The II chord is functioning as a V/V, a secondary dominant. Secondary dominant chords have been around in Western harmony for a long time now, with V/V perhaps being the most common of the bunch (or possibly V/vi).But what if we make like the Beatles and follow the II chord with the IV chord instead? To my ears, this creates a very cool, bluesy sound.At some point someone added a vi chord into the mix. Why does it work? Probably because I and vi share scale degrees 1 and 3, making for a very smooth transition between the two. Check out these more recent examples of this 4-chord version of the progression:You're With Stupid Now by Aimee Mann: IV - I - vi7 - II7 (C Maj-G Maj - E Min7 - A7)Say You'll Be There by the Spice Girls: vi - II - IV - I (B Min - E Maj - G Maj7 - D Maj)Terrible Angels by CocoRosie: I-vi-II7-IVM7 (G Maj - E Min - A7 - C Maj7)Notice anything similar among these three? They all consist of the same sequence of chords, but each starts at a different point on the sequence, with II always resolving to IV.As to why this is called the "Lydian" Pop-Rock progression? When composing in the Lydian mode, we are provided with these chords: I, II, iii, #ivo, V, vi, and vii.So Lydian gets us mostly there, giving us the I, II and vi chords. Yet the normal IV chord we all know and love and so essential to making this progression work is nowhere to be found in Lydian. Given the need for that plain old IV chord, the Lydian Pop-Rock Progression isn't so much truly Lydian so much as it is a bit of modal borrowing.These are some cool beginnings I like:im7 - I6 (Em7 - E6)i - bII (Em - F)I - iim#5* (D - C/E*)I - bIII (A - C)IM7 - III6 (FM7 - A6)I - IV7 (C - F7)i - bv dim (Bm - F dim)I - V sus (D - A sus)I - bVI aug (E - C+)I - VIm7b5 (C - Am7b5)i m7 - bvii m7 (Am7 - Gm7)I - VII7 (C - B7)Some closing cadences:I sus - I (D sus - D)bII7 - I (F7 - E)iim7 - I (Dm7 - C)bIII7 - i (G7 - Em)III7sus - I (E7sus - C)ivm6 - I (Dm6 - A)bV dim - I (F# dim - C)V7sus - I (E7sus - A); V7#5 - I (E7#5 - A)bVI dim - I (Ab dim - C)VI sus - I (A sus - C)bVII7 - I (C7 - D)VII aug - I (E+ - F)Some of the creeepier progressions:I - IIIi - iiii - bVIi - biii - bv- bbviiChromatic Mediant relationships are pairs of chords that are either major or minor thirds apart, creating dark moods and a brooding feel, but at the same time maintaining a loose sense of tonality.Chord sequences like this tend to lend themselves to chromatic melodies that twist and bend through the changes, lines which could sound totally out of place in a more functional harmonic context.If you want to try an approach that Joe Satriani uses you can try this progression:Bmadd9 Gadd9 Emadd9 Cadd9 Amadd9 Fadd9 Dmadd9 Bbadd9 Gmadd9 D#add9 Cmadd9 G#add9 Fmadd9 C#add9 A#add9 F#add9 Ebmadd9 Badd9 G#madd9 Eadd9 C#madd9 Aadd9 F#madd9 Dadd9 Em9This chord progression runs through all 12 keys in some interesting ways. First every 2 measures is a different key, second it goes through all 24 keys of major and minor. This is an excellent chord progression to loop and practice soloing over, too.