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Both sides suffer heavy losses during the war, with Porus losing Bamni and Hasti. Eventually, Alexander is victorious in the Battle of the Hydaspes in 326 BCE and captures Porus, but impressed by Porus's bravery, he returns his kingdom to him, ends his campaign, and starts his journey back to Macedonia. Porus and Laachi has a son, Malayketu.
The term "chord chart" can also describe a plain ASCII text, digital representation of a lyric sheet where chord symbols are placed above the syllables of the lyrics where the performer should change chords. [6] Continuing with the Amazing Grace example, a "chords over lyrics" version of the chord chart could be represented as follows:
Guitar and bass tab is used in pop, rock, folk, and country music lead sheets, fake books, and songbooks, and it also appears in instructional books and websites. Tab may be given as the only notation (as with chord tab in songbooks that only include lyrics and chords), or, as with guitar solo transcriptions, tab and standard notation may be ...
'killer of enemies', IAST: Śatrughna), also known as Ripudaman, is the younger brother of Rama, and King of Madhupura and Vidisha, in the Hindu epic Ramayana. He is considered as an incarnation of the Sudarshana Chakra of god Vishnu, and was married to Shrutakirti. [1] Shatrughna is the twin of Lakshmana.
A rock or pop guitarist or keyboardist might literally play the chords as indicated (e.g., the C major chord would be played by playing the notes C, E and G at the same time). In jazz, particularly for music from the 1940s bebop era or later, players typically have latitude to add in the sixth, seventh, and/or ninth of the chord. Jazz chord ...
Music of Ladakh reflects a rich musical heritage and cultural legacy of Ladakh. Ladakhi music is similar to the music of Tibet. Ladakh is also called Mini Tibet. [1] [2]
The Eleventh chapter examines the genre of folk-music and evaluates the role of folk-instruments. A modern scientific classification of instruments based on intensity, pitch, range etc. has been envisaged in the twelfth chapter. Iconic and aesthetic elements of instruments have been discussed in the thirteenth chapter.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11 ).
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