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A list of metaphors in the English language organised alphabetically by type. A metaphor is a literary figure of speech that uses an image, story or tangible thing to represent a less tangible thing or some intangible quality or idea; e.g.,
"Hard to Say" is the title of 1981 song written and performed by the American singer-songwriter Dan Fogelberg. It first appeared on Fogelberg's album The Innocent Age. Fogelberg wrote the song while recovering from surgery. [1] The song features backing vocals by singer Glenn Frey of the Eagles. [2]
The song was written by Jon Anderson, Chris Squire, Bill Bruford, and Steve Howe, all of whom were members of Yes at the time.Bruford said his writing contribution to the song consisted of "a handful of chords and a sliver of melody at 3.45 repeated at 5.06 and again at 8.11".
An extended metaphor is a metaphor that is continued over multiple sentences. [21] [22] Example: "The sky steps out of her daywear/Slips into her shot-silk evening dress./An entourage of bats whirr and swing at her hem, ...She's tried on every item in her wardrobe." Dilys Rose [23] Onomatopoeia is a word designed to be an imitation of a sound. [24]
played like a harp (i.e. the notes of the chords are to be played quickly one after another instead of simultaneously); in music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise; arpeggios are frequently used as an accompaniment; see also broken chord
“Walk straight, with your back up,” Miller says. She suggests starting at a pace of 2.5 miles per hour and upping your speed from there as you get stronger.
A simile mark in the middle of an otherwise empty measure tells the musician to repeat the chord or chords of the preceding measure. When seen with two slashes instead of one it indicates that the previous measure's chords should be repeated for two further measures, called a double simile , and is placed on the measure line between the two ...
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in "locked-hands" [1] rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. [1]