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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
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
The C-C-G-C-E-G tuning uses the harmonic sequence (overtones) of the note C. When an open-note C-string is struck, its harmonic sequence begins with the notes (C,C,G,C,E,G,B♭,C). [3] [4] This overtone-series tuning was modified by Mick Ralphs, who used a high C rather than the high G for "Can't Get Enough" on Bad Company. Ralphs said, "It ...
A Kuchisake-onna in a scene from Ehon Sayoshigure by Hayami Shungyōsai, 1801. Kuchisake-onna (口裂け女, 'Slit-Mouthed Woman') [1] is a malevolent figure in Japanese urban legends and folklore.
"Tenome" from the Gazu Hyakki Yagyō by Toriyama Sekien The "teme-bōzu," a yōkai modeled after the tenome, from the Hyakki Yagyō Emaki of the Matsui Library in Yatsuhiro, Kumamoto Prefecture "Bakemono ni Hone wo Nukareshi Hito no Koto" (ばけ物に骨をぬかれし人の事), a kaidan (mysterious tale) considered to be based on the tenome, from the Shokoku Hyaku Monogatari.
For example, the E–G ♯ –c–e–g ♯ –c' M3 tuning repeats its octave after every two strings. Such repetition further simplifies the learning of chords and improvisation; [73] This repetition results in two copies of the three open-strings' notes, each in a different octave. Similarly, the B–F–B–F–B–F augmented-fourths ...
When used with chord symbols, the Roman numerals represent the root of a triad built on the associated scale step. In music theory based on the practices of the common practice period and its derivations the chord numerals are often written in upper case for chords in the major family, and in lower case for chords in the minor family, with the usual "m" or "—" minor chord quality suffix ...