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Song of Songs 5 (abbreviated [where?] as Song 5) is the fifth chapter of the Song of Songs in the Hebrew Bible or the Old Testament of the Christian Bible. [1] [2] This book is one of the Five Megillot, a collection of short books, together with Ruth, Lamentations, Ecclesiastes and Esther, within the Ketuvim, the third and the last part of the Hebrew Bible. [3]
Étude Op. 25, No. 5 in E minor, is a technical study composed by Frédéric Chopin in 1837. Marking a serious departure in the expected technique developed previously, Chopin wrote this étude with a series of quick, dissonant minor seconds .
Thunderstruck (song) is within the scope of WikiProject Australia, which aims to improve Wikipedia's coverage of Australia and Australia-related topics. If you would like to participate, visit the project page .
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. [1]
Thunderstruck may refer to: "Thunderstruck" (song), a 1990 song by AC/DC; Thunderstruck, a 2004 Australian film; Thunderstruck, a 2006 book by Erik Larson; Thunderstruck, a 2012 American film; Thunderstruck (short story collection), a 2014 short story collection by Elizabeth McCracken
Songbook (Nick Hornby book) Songs in the Key of Z; Songs of Praise (hymnal) The Songs of the Tyne by Walker; Sound Bites: Eating on Tour with Franz Ferdinand; Sounds Like London; A Southern Music: The Karnatik Story; Space Opera (1996 anthology) Stephen Fry's Incomplete and Utter History of Classical Music; The Stereo Record Guide; The Story of ...
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek harmoniai or tonoi, based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode.
What starts the movement is a four-bar structural upbeat similar to the one that begins the finale of his Fourth Symphony before the main theme starts on bar 5. [3] The main theme is a simple rising arpeggio with a dotted rhythm that dominates all of the themes of the exposition.