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When Xenophon and the rearguard heard this, they thought that some other enemies were attacking them from in front. For from behind also the people from the land which was burning were following them, and the rearguard had killed some of them and taken some of them prisoner after making an ambush, and they had captured about 20 wickerwork ...
Route of Xenophon and the Ten Thousand (red line) in the Achaemenid Empire.The satrapy of Cyrus the Younger is delineated in green.. Written years after the events it recounts, Xenophon's book Anabasis (Greek: ἀνάβασις, literally "going up") [14] is his record of the expedition of Cyrus and the Greek mercenaries' journey to home. [15]
[6] "The sea" meant that they were at last among Greek cities but it was not the end of their journey, which included a period fighting for Seuthes II of Thrace and ended with their recruitment into the army of the Spartan general Thibron. Xenophon related this story in Anabasis in a simple and direct manner. [citation needed]
Route of Xenophon and the Ten Thousand (red line) in the Achaemenid Empire.The satrapy of Cyrus the Younger is delineated in green.. The Ten Thousand (Ancient Greek: οἱ Μύριοι, hoi Myrioi) were a force of mercenary units, mainly Greeks, employed by Cyrus the Younger to attempt to wrest the throne of the Persian Empire from his brother, Artaxerxes II.
The term sixth chord refers to two different kinds of chord, the first in classical music and the second in modern popular music. [1] [2]The original meaning of the term is a chord in first inversion, in other words with its third in the bass and its root a sixth above it.
IV M7 –V 7 –iii 7 –vi chord progression in C. Play ⓘ One potential way to resolve the chord progression using the tonic chord: ii–V 7 –I. Play ⓘ. The Royal Road progression (王道進行, ōdō shinkō), also known as the IV M7 –V 7 –iii 7 –vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō), [1] is a common chord progression within ...
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 ).