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"The Ghost of Tom Joad" is a folk rock song written by Bruce Springsteen. It is the title track to his eleventh studio album , released in 1995. The character Tom Joad , from John Steinbeck 's classic 1939 novel The Grapes of Wrath , is mentioned in the title and narrative.
"Youngstown" is a song by Bruce Springsteen from his 1995 album The Ghost of Tom Joad. Although many of the songs on the album were performed by Springsteen solo, the lineup for "Youngstown" includes Soozie Tyrell on violin, Jim Hanson on bass, Gary Mallaber on drums, co-producer Chuck Plotkin on keyboards, and Marty Rifkin on pedal steel guitar.
The Ghost of Tom Joad is the eleventh studio album by American singer-songwriter Bruce Springsteen, released on November 21, 1995, by Columbia Records.His second primarily acoustic album after Nebraska (1982), The Ghost of Tom Joad reached the top ten in two countries, and the top twenty in five more, including No. 11 in the United States.
The Ghost of Tom Joad Tour was a worldwide concert tour featuring Bruce Springsteen performing alone on stage in small halls and theatres, that ran off and on from late 1995 through the middle of 1997. [1] It followed the release of his 1995 album The Ghost of Tom Joad. [2]
The final song on Volume 1, split into two parts, tells the story of “Tom Joad", the leading character in Steinbeck's The Grapes of Wrath. "Wherever people ain’t free/Wherever men are fightin’ for their rights,” he sings, “That’s where I’m a-gonna be.”
The chord factor called the "fifth" (pitch name "G") is represented in voice 2 (shown in red). The chord factor that is in the bass determines the inversion of the chord. For example, if the third is in the bass it is a first inversion chord (figured bass: 6 3) while if the seventh is in the bass the chord is in third inversion (4 2). The ...
A modern perspective on voice leading in mm. 3–7 of J. S. Bach's Little Prelude in E minor, BWV 941. From the last chord of each measure to the first chord of the next, all melodic movements (excepting those in the bass) are conjunct; inside each measure, however, octave shifts account for a more complex parsimonious voice leading. [23]
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