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8590 18317 Ensembl ENSG00000184933 ENSMUSG00000070417 UniProt O95222 n/a RefSeq (mRNA) NM_003696 NM_010983 RefSeq (protein) NP_003687 n/a Location (UCSC) Chr 11: 6.79 – 6.8 Mb Chr 7: 106.59 – 106.61 Mb PubMed search Wikidata View/Edit Human View/Edit Mouse Olfactory receptor 6A2 is a protein that in humans is encoded by the OR6A2 gene. It is Class II (tetrapod -specific) olfactory receptor ...
List of musical chords Name Chord on C Sound # of p.c.-Forte # p.c. #s Quality Augmented chord: Play ...
It should only contain pages that are Gene Watson songs or lists of Gene Watson songs, as well as subcategories containing those things (themselves set categories). Topics about Gene Watson songs in general should be placed in relevant topic categories .
Gary Gene Watson (born October 11, 1943) [1] is an American country music singer. He is most famous for his 1975 hit "Love in the Hot Afternoon," his 1981 No. 1 hit "Fourteen Carat Mind," and his signature 1979 song "Farewell Party." Watson's long career has included five number one hits, [2] 21 top tens, and 48 charted singles.
Tone clusters...on the piano [are] whole scales of tones used as chords, or at least three contiguous tones along a scale being used as a chord. And, at times, if these chords exceed the number of tones that you have fingers on your hand, it may be necessary to play these either with the flat of the hand or sometimes with the full forearm.
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 terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).