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The song became "imprinted on the movie's legacy", and every listen prompts a reminder of the blockbuster and the hype surrounding it. [31] USA Today agreed that the song will be forever tied to Titanic. [55] The Washington Post has argued that it is the marriage of music and image that make both the song and film greater than the sum of their ...
Other artists were invited to submit songs for the movie including contemporary Christian artist Michael W. Smith. He mentions in the liner notes to the song "In My Arms Again" from his 1998 album Live the Life; [9] "Inspired and written for the movie Titanic, grateful for the opportunity to send them a song; grateful it landed on this record."
G-flat may refer to: G-flat major; G-flat minor; The musical pitch G ...
Four down-tuned variations are used by the band Sevendust: A Drop C# variation, or C ♯-G ♯-c ♯-f ♯-g ♯-c ♯ ', Also uses a variation where the lowest string is dropped to G ♯ on the song "Chop", A Drop C variation, or 'C-G-c-f-g-c'. (used on the song "Unraveling". Also uses a variation where the lowest string is dropped to G, used ...
Pages in category "Songs about the RMS Titanic" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes. D.
Muzio Clementi chose F-sharp in his set for the prelude, but G-flat for the final "Grande Exercice" which modulates through all the keys. Antonín Dvořák composed Humoresque No. 7 in G-flat major, while its middle section is in the parallel key (F-sharp minor, enharmonic equivalent to the theoretical G-flat minor).
Wherever You Are (David Mead album), or the title song, 2005; Wherever You Are (Sami Yusuf album), or the title song, 2010; Wherever You Are (Third Day album), 2005; Live: Wherever You Are, an album by Jack Ingram, or the title song (see below), 2006
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 ...