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Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
This is an accepted version of this page This is the latest accepted revision, reviewed on 14 December 2024. For other color lists, see Lists of colors. This article relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. Find sources: "List of colors" alphabetical ...
Magenta is variously defined as a purplish-red, reddish-purple, or a mauvish–crimson color. On color wheels of the RGB and CMY color models, it is located midway between red and blue, opposite green. Complements of magenta are evoked by light having a spectrum dominated by energy with a wavelength of roughly 500–530 nm.
This is an accepted version of this page This is the latest accepted revision, reviewed on 11 January 2025. Colors are an important part of visual arts, fashion, interior design, and many other fields and disciplines. The following is a list of colors. A number of the color swatches below are taken from domain-specific naming schemes such as X11 or HTML4. RGB values are given for each swatch ...
"Shades of Gray" is a song written by Barry Mann and Cynthia Weil, recorded by the Monkees for their 1967 album Headquarters. Lead vocals were shared by Davy Jones and Peter Tork, [2] and this is the only track on the album featuring instruments performed by session musicians instead of the band members (and producer Chip Douglas) themselves (French horn and cello).
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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 ...
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