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Arise, vast country, Arise for a fight to the death Against the dark fascist force, Against the cursed horde. Chorus: Let noble wrath Boil over like a wave! This is the people's war, A Sacred War! We shall repulse the oppressors Of all ardent ideas, The rapists and the plunderers, The torturers of people! Chorus The black wings shall not dare
The lyrics here feature a similar refrain of "Rise and Shine and Give God the Glory, Glory," which is used in the Arky camp song Rise and Shine (And Give God Your Glory, Glory) also known as The Arky, Arky Song (Children of the Lord) is a humorous children's camp song about Noah's Ark .
The time was still to come when the Royal Navy would be an unchallenged dominant force on the oceans. The jesting lyrics of the mid-18th century would assume a material and patriotic significance by the end of the 19th century. Britannia rule the waves: decorated plate made in Liverpool circa 1793–1794 (Musée de la Révolution française).
In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Billy Joel knows all about an increasingly popular fan theory that suggests two of his "Piano Man" song characters are gay. And, the Grammy winner understand why fans think that. In the song ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
The chord is found in several works by Chopin, from as early as 1828, in the Sonata in C minor, Op. 4 and his Scherzo No. 1, composed in 1830. [2] It is only in late works where tonal ambiguities similar to Wagner's arise, as in the Prelude in A minor, Op. 28, No. 2, and the posthumously published Mazurka in F minor, Op. 68, No. 4.