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List of musical chords Name Chord on C Sound # of p.c.-Forte # p.c. #s Quality Augmented chord: Play ... 0 7 9 1 4: Bitonal Farben chord: Play ...
The Confederate States of America (CSA), commonly referred to as the Confederate States (C.S.), the Confederacy, or the South, was an unrecognized breakaway [1] republic in the Southern United States that existed from February 8, 1861, to May 5, 1865. [8]
When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C 9), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh , i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C 9 consists of C, E, G, B ♭ and D. C dominant ninth (C 9 ) would usually be expected to resolve ...
Diminished chord function is rarer but still exists. Half-diminished chords can function in the same way as fully diminished chords, such as in the chord progression CM 7 – C ♯ dim 7 – Dm 7, or Em 7 – E ♭ dim 7 – Dm 7, where the diminished chord serves as a chromatic passing chord preceding a chord with a diatonic
A confederate from South Carolina, James McFadden Gaston, traveled extensively in central Brazil. Upon return to the US, Gaston published a book titled Hunting a Home in Brazil in 1867. The book was a guide for would-be colonizers and stated in the introduction, "All the requisites of a desirable home have been found in Brazil." [7]
[12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...
The law admitting the state required a presidential proclamation before it was to take effect, [7] which sources say took place on this date; [8] the only primary source found so far is a statement from Jefferson Davis on July 20 stating that the proclamation had been made. [9] June 8, 1861
The origin of the cry is uncertain. One theory is that the rebel yell was born of a multi-ethnic mix. In his book The Rebel Yell: A Cultural History, Craig A. Warren puts forward various hypotheses on the origins of the rebel yell: Native American, Celt, Black or sub-Saharan, Semitic, Arab or Moorish, or an inter-ethnic mix.