My Future!

I am always looking forward to find the exact purpose and plan in my life,but God does everything in his own time and ways!! I understand now!! I was ditched by a girl n thought its not worth to live anymore but Jesus has turned my mourning into Joy which is eternal.I know Christianity since birth but now i know my Saviour Jesus who is the only way to eternity!! People never think about their future,but let me tell their is a day when every knee will bow before Him and every tongue will confess that "He is the Lord". Christ has come to save u and me and not to condemn anyone of us,Please come to Him once--Try Jesus!! Before its too late to think???

Social spark!!

Guys being working as a Payperpost reviewer never thought to indulge in market place blogging!! But But But none can ignore SocialSpark!!! You know i am approved to review in social spark.My blog has been approved within 2 days and it sounds good!! right! I have registered in most of the competitive sites of Izea but couldn't find any of the sites who can provide such a awesome opportunity for bloggers as well as advertisers to earn and grow eventually. To be honest I was a staff of Payperpost where i learned blogging from "Karen",she thought us to create a blog and described us the actual picture of marketplace blogging in a very short period of time!! I have started blogging in marketplace with izea itself. Well let me tell you about Social spark..

1. Advertisers are able to target blogs based on conversational topics and make cash sponsorship offers to the bloggers who publish them.
2. Bloggers can make money by either placing display advertisements on their blog or by writing sponsored content.
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5. 100% real opinion
6. 100% no-follow

I have registered my blog and you could be my friend, my profile name is "Sparker" and one of my friend who has a good way to describe life is Anup.He writes all about his life and good thoughts.So guys what for you are waiting? Go and grab the opportunity!! This is sponsored post by social spark.

In Plain Sight..

Let me introduce you about "In plain sight".Its a all-new crime drama from USA Network!! here Mary McCormack is acting as mary shannon,where mary protects and manages relocated Federal Witnesses who come from all over the country.She is witnessing all about career criminals, congenital liars, thieves and murderers along with her partner marshall (Fred Weller).Don't loose the chance to watch the series premiere which is on 1st June. U.s.a network is on the way to release this drama which will be a really nice one to watch and enjoy.It is USA Network's new original series In Plain Sight where mary's friends and family members thinks she's just a glorified courier, but she's actually a U.S. Marshal, working for the highly secretive "witness protection program". Her job is to help relocate federal witnesses over all,whoso ever they may be!! Being a witness i was unable to remember anything of it as i forgot my name and most of the things. 'sponsored by USA Network's new original series In Plain Sight'

Chords: Pehla Nasha

 F              Bb
Chahe tum kuch na kaho

F            F C
Maine Sun liya

F         C
Ki saathi pyaar ka

Dm           Bb               C
Maine chun liya, maine chun liya, chun liya

[Interlude 1]
F Dm Bb C (2x)

F       Dm       C
Pehla nashaa, Pehla khumaar

F                       C
Nayaa pyaar hain nayaa intazaar

Bb                      F
KaraluuN main kyA apanA haal

Bb           C
Ai dil-e-beqaraar

Bb             F
Mere dil-e-beqaraar

       C
tU hii bataa

[Interlude 2]
Dm C Dm C Bb

Udataa hii phiruuN in havaaon men kahiin
yA main jhuul jaauuN, in ghaTaaon men kahiin [2x]
ek karaluuN aasamaan aur zamiin
ab yaaro kyA karuuN kyA nahiin
Pehla nashaa, Pehla khumaar

[Interlude 3]
Bb Ab Bb Ab F

Usane baat kii, kuchh aise Dhang se
sapane de gayaa vo hazaaron rang ke [2x]
rah jaauuN jaise men haar ke
aur chuume vo mujhe pyaar se

Pehla nashaa, Pehla khumaar
nayaa pyaar hain nayaa intazaar
karaluuN main kyA apanA haal,
ai dil-e-beqaraar mere dil-e-beqaraar,
tU hii bataa.

Chords:

 C                   Am    F   G
Papa kahte hai bada naam karegaa

C                Am    F    G
beta hamara aisa kaam karegaa

       C              Am
magar yeh to, koi na jaane

  F                G
ki meri manzil he kahaa...

papa kahte hai.......

C
Baithe hai mil ke

..            Am
Sab yaar apne

               F
sabke dilo main

               G
armaan yeh hai..

C                               Am
woh zindagi main, kal kyaa banegaa

              F                 G
har ik nazar ka, sapnaa yeh hai..

C                Am   F    G
koi engineer ka kaam karegaa..

C                        Am  F   G
business main koi apnaa naam karegaa..

C                 Am
magar yeh to, koi na jaane........

papa .....

The second antra can be played similarly.

Chords:Jadoo teri nazar

 Gm             F                   Gm
Jadoo Teri Nazar, Khooshboo tera badan

Gm             F                   Gm  D#(Hang at D# for 1 beat)
Jadoo Teri Nazar, Knooshboo tera badan

      A#        Gm
to haan kar, Ya Nakar

      A#        Gm
to haan kar, Ya Nakar

      D#
to hai meri ki

the chords before the para goes like this

Gm....Gm....F....F....
Cm....Cm....A#...G....whole thing 2 times

then while stopping strum the
sequence A#... F...Gm... for 1 beat  each

     A#            F         Gm
Mere khwabon ki taasveer hai tu

  Cm           A#    F   Gm
bahkabar meri takdeer hai tu
..........above 2 lines 2 times

      Cm    A#    F    Gm
to  kisi aur ki ho na jaana

        A#       F         Gm   D#(hang at D# for 1 beat)
kuch bhi kar jaaonga main deewana

  A#   F   F     Gm
to han kar, ya na kar

       D#     Gm
to hai meri kiran

and the song loops .....

Chords: Dooba Dooba by Silk Route

 G                          C       D
Dooba dooba rehta hoon aankhon me teri

G                              C       D
Deewana ban gaya hoon main chaahat me teri

          Am     Bm
Ab din guzarte nahin

          Am    Bm
Ratein kat-ti nahin

         Am Bm          Am    Bm     G
Teri tasvir se  baat ban-ti nahin... Aa-ja

G, C, Am, G

 G
Koi jaane na
Pehchaane na

     Am  D
Yeh hua kaise

       C                 D
Tum aagaye kwabon mein aise

 Am Bm            Am  Bm
Bewafa... sun oh bewafa... na jaa

Dooba dooba rehta hoon aankhon me teri

Tum jo mil gaye
Deeye jal gaye
Mere khwabon mein
Ban jao tum mere hamsafar
Bewafa ... sun oh bewafa ... bewafa... na jaa

Dooba dooba rehta hoon aankhon me teri
Deewana ban gaya hoon main chaahat me teri

Ab din guzarte nahin
Raaten kat-ti nahin
Teri tasvir se bat banti nahin... oh aa-ja
Na ja bewafa
Oh bewafa... sun oh bewafa... na jaa

Baadal ka aanchal bhi aa kar

G             Am
Pagal hawa le gayee


Am                      Dm
Phoolon ke khaabon mein aa kar

G                 Am
Khushboo chura le gayee

Am                    Dm
Baadal ka aanchal bhi aa kar

G             Am
Pagal hawa le gayee

Em       Am Em       Am Em        Am   Em   Am
Ek phool ne ek phool se phir kaan mein kuch kaha


Repeat #CHORUS


Am                  Dm
Rishton ke neele bhawwar

G              Am
Kuch aur gehre huay

Am                Dm
Tere mere saayein hain

G               Am
Paani pe thehre huay

Em        Am Em   Am
Jab pyaar ka moti gira

Em    Am   Em  Am
Banne laga daaira

Chords and their uses

The following is a more in depth description of several chords and
their common uses:

• Major 7 - gives a fuller sound, often used in jazz

• Major 9 - used in jazz

• Major6add9 - used often in country and in jazz

• Suspended chords usually resolve to the major, often used to breakup a static vamp (instead a playing C the whole time, switch from C to Csus to C, etc)

• Minor - sad chord

• m6 - used in funk

• m7 - used in funk

• m7#5 - used in fusion

• m11 - used in funk

• m(M7) - dark, moody

• Ninth - used in funk

• Augmented - connecting chord

• Diminished - passing chord

• 7sus2 - used in folk

• m#5 - often used as a IIIm chord

• maj13#11 - used in soul

• 9#11 - chromatic passing chord resolving down a half step, or as a substitute for a IV7 chord

• 13#11 - same usage as 9#11

• M7#11 - dramatic ending chord

• M7b5#9 - ending chord, or a passing chord to I

• m7b5 - usually used as a IIm in a minor key

• 9sus4 (11) - most popular substitution for dominant 7 chords

• Augmented 7 - V chord in a minor key

• Diminished - substitute for second half of IV chord measure in the blues, one half step higher (C = I, F = IV, F#dim would be used)

• The V chord may be substituted on the weak beats (2 and 4) for a Im

• 7sus4b9 - V chord resolving to Im, or as I chord in Phrygian mode

• m7#5 - IIIm in the harmonized major scale

• 13b9 - V7 chord Alternate from M6 to M7 and back when playing a static I chord.

The Circle of Fifths

                The next step in understanding any guitar theory is to understand
the circle of fifths.  Its importance is that it diagrams several
important concepts.  First, it is used in determining scales.
Second, it is used to determine which chords are in any given key.
Third, it is the basis for chord substitutions.

To begin with, I'll demonstrate how the circle of fifths is used in
a blues progression in G (something that hopefully everyone is
familiar with).  Twelve bar blues in G begins with 4 bars of G, 2
bars of C, 2 bars of G, one bar of D7, one bar of C, one bar of G,
and finally one bar of D7 (as shown below).  This progression is
also commonly known as

• |G |G |G |G |C |C |G |G |D7 |C |G |D7 |

a I - IV - V progression.  If you are not familiar with this
progression, learn it.  It is one of the most basic building blocks
in rock music.  Traces of it can be found in everything from Led
Zeppelin to Doo-Wop to surf music to Eric Clapton.

The next diagram shows the chords that are in the key of G.

• I II III IV V VI VII

• G A B C D E F#

As you can see, the G is the I, the C is the IV, and the D7 is the V
in the I- IV - V progression.  Any F chords played in the key of G
need to be sharped, otherwise they are considered to be out of key.

In the same way, the circle of fifths shows which notes need to
sharped or flatted in chord constuction.  To form a major chord, the
first, third, and fifth notes of the scale need to be played.  In
the case of Gmajor (or just G as it is commonly called), a G note
would be 1, a B note would be 3, and a D note would be 5.

• e||---|---|-o-|---| G (1) As you can see, the open G chord

• B||---|---|---|---| B (3) is made up entirely of G, B, and D notes

• G||---|---|---|---| G (1) (I, 3, and 5). Note that any G chord

• D||---|---|---|---| D (5) requires a 7 note to be played would

• A||---|-o-|---|---| B (3) be an F#, not an F.

• E||---|---|-o-|---| G (1)

For the third part, the Circle of fifths gives an indication of when
to play minors, etc.  The following chart shows some guidelines.
Later on

• I = major

• II = minor7

• III = minor7

• IV = major

• V = dominant7

• VI = minor (known also as the relative minor)

• VII = diminished

I will show some substitution rules for incorporating more unusual
chords into a progression.  It is important to remember that these
rules are only general guidelines.  If you look at the chords of
some songs that you know, you will probably see that as a general
trend, these rules are followed, but on many occasions they aren't.

One thing to keep in mind: a chord progression may be in the key of
A (A is the I chord) without playing an A chord first.  Look at the
following
example.

• |E |E |A |D |

This the chord progression in Lola, by the Kinks.  In this case, it
is in the key of A (A = I, D = IV, E = V).  This shows that the
first chord played in a progression does not determine the key.
Another example is the IIm - V - I chord progression, which is one
of the most common in western music.  As you can see, it starts on
the IIm chord.

Since I don't have very good graphics capabilities here, I will
represent the circle of fifths in chart form, as would be read
clockwise from 12 o'clock.

• C - no sharps or flats.

• G - F#

• D - F#, C#

• A - F#, C#, G#

• E - F#, C#, G#, D#

• B - F#, C#, G#, D#, A#

• F# (Gb) - F#, C#, G#, D#, A#, E# (F)

• Db - Bb, Eb, Ab, Db, Gb

• Ab - Bb, Eb, Ab, Db

• Eb - Bb, Eb, Ab

• Bb - Bb, Eb

• F - Bb

Notice the spacing between chords is the same for each key.  Here is
the example again in the key of G.

• I II III IV V VI VII

• G A B C D E F#

Notice that there is a whole step between all chords except between
III and IV, and between VII and I.  This will be true for all keys.

That pattern is also the same as that for the major scale.  The
above diagram shows the notes contained in the G major scale.

• The VI chord is called the relative minor, because it shares many

notes with the tonic (I chord).  If C were the tonic, Am would be
the relative minor.  If you play one after the other, you will
notice they sound good together.  If something is played in an Am
key, you use the exact same chords as if it were being played in the
key of C.  In this way, you can determine all of the mionr keys as
well from the circle of fifths.

Difference between U and Ur Boss!!

When you take a long time, you're slow. When your boss takes a long time, he's thorough. When you don't do it, you're lazy. When your boss doesn't do it, he's too busy. When you make a mistake, you're an idiot. When your boss makes a mistake, he's only human. When doing something without being told, you're overstepping your authority. When your boss does the same thing, that's initiative. When you take a stand, you're being bull-headed. When your boss does it, he's being firm. When you overlooked a rule of etiquette, you're being rude. When your boss skips a few rules, he's being original. When you please your boss, you're apple polishing. When your boss pleases his boss, he's being co-operative. When you're out of the office, you're wandering around. When your boss is out of the office, he's on business. When you're on a day off sick, you're always sick. When your boss is a day off sick, he must be very ill. When you apply for leave, you must be going for an interview. When your boss applies for leave, it's because he's overworked.