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In the Hyakki Yagyo Emaki from the Muromachi period, yōkai that appeared as umbrellas could be seen, but in this emaki, it was a humanoid yōkai that merely had an umbrella on its head and thus had a different appearance than that resembling a kasa-obake. [7] The kasa-obake that took on an appearance with one eye and one foot was seen from the ...
Kasa-obake A paper-umbrella monster that is sometimes considered a tsukumogami. Kasha A cart-like demon that descends from the sky, or a cat-like demon, which carries away the corpses of evildoers. Katawaguruma A type of wanyūdō, with an anguished woman instead of a monk's head in a burning wheel. Kawaakago
E minor is a minor scale based on E, consisting of the pitches E, F ♯, G, A, B, C, and D. Its key signature has one sharp , on the F. Its relative major is G major and its parallel major is E major .
the ascending melodic minor scale or jazz minor scale (also known as the Ionian ♭ 3 or Dorian ♮ 7): this form of the scale is also the 5th mode of the acoustic scale. the descending melodic minor scale: this form is identical to the natural minor scale . The ascending and descending forms of the A melodic minor scale are shown below:
A variety of musical scales are used in traditional Japanese music. While the Chinese Shí-èr-lǜ has influenced Japanese music since the Heian period, in practice Japanese traditional music is often based on pentatonic (five tone) or heptatonic (seven tone) scales. [1] In some instances, harmonic minor is used, while the melodic minor is ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
She carries an umbrella that resembles a Kasa-obake, and is the only Touhou character with heterochromia: her left eye is blue, and her right one is red. Ichirin Kumoi (雲居 一輪, Kumoi Ichirin) and Unzan (雲山) Species: Yōkai and Nyūdo; Ability: Use of a Nyūdō; Residence: Myouren Temple
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 ).