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"What a Man Gotta Do" is a song by American group Jonas Brothers. It was released as a single through Republic Records on January 17, 2020. All three of the Jonas Brothers members, Nick , Joe , and Kevin Jonas , wrote the song with producers Ryan Tedder and David Stewart , alongside Jess Agombar.
A chord chart. Play ⓘ. A chord chart (or chart) is a form of musical notation that describes the basic harmonic and rhythmic information for a song or tune. It is the most common form of notation used by professional session musicians playing jazz or popular music.
Chord diagrams for some common chords in major-thirds tuning. In music, a chord diagram (also called a fretboard diagram or fingering diagram) is a diagram indicating the fingering of a chord on fretted string instruments, showing a schematic view of the fretboard with markings for the frets that should be pressed when playing the chord. [1]
"Leave Before You Love Me" is a "sweet hooky pop ballad" about regret and moving on before further heartbreak ensues. [1] It features "handclaps, a groove and the type of vibe that should break hearts all over the globe".
"What a Man" is a song written by Dave Crawford, and originally recorded for Stax Records' Volt imprint by Linda Lyndell, whose recording reached number 50 on the Billboard R&B chart in 1968. The song was sampled and reinterpreted as " Whatta Man " in 1993 by the trio Salt-N-Pepa with En Vogue , which became a commercial success; reaching the ...
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What a Man or Whatta Man may refer to: "What a Man" (song), a 1968 song by Linda Lyndell, covered by Salt-n-Pepa and En Vogue "Whatta Man" (I.O.I song), a 2016 song by I.O.I; What a Man, a 1930 American film; What a Man!, a 1938 British film; Never Give a Sucker an Even Break known in some foreign releases as What a Man!
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 ...