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Illest Morena Hip hop/rap Independent Banal Na Tao: Guddhist Gunatita 9/11: Bomba Na: Jr Crown, Bomb D Sony Music Philippines: 22 Lanamantayo: Kenaniah Alternative rock O/C Records 23 Baby Kosa: Nateman, Bigbaby Enzo Hip hop/rap HTRB Records 24 Minahalagad: Because, Hev Abi Viva Records: Tatlong Buwan: Sponge Cola: Rock Sony Music Philippines ...
The book has since been published in a case-size edition by William Bay, Mel's son and has spawned a series of similar books like the Encyclopedia of Guitar Chord Progressions (first published in 1977 [3]), Encyclopedia of Guitar Chord Inversions, Mel Bay's Deluxe Guitar Scale Book, Encyclopedia of Jazz Guitar Runs, Fills, Licks & Lines, and ...
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The Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form , with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7 –VI 7 ...
Diagonal barre chord: major seventh chord on G. [12] Play ⓘ The first finger frets both the second fret on the first string and the third fret on the sixth string. A diagonal barre chord is a "very rare chord" involving "the barring of a couple of strings with the first finger [diagonally] on different frets." [12]
Seven Cantares for soprano and guitar is a musical piece for voice and classical guitar composed by the Catalan composer Robert Gerhard (1896–1970), based on poems by an unknown author.
Lyrics are usually in Cape Verdean Creole, and instrumentation often includes cavaquinho, clarinet, accordion, violin, piano and guitar. Morna is widely considered the national music of Cape Verde, [ 3 ] as is the fado for Portugal , the tango for Argentina , the merengue for Dominican Republic , the rumba for Cuba , and so on.
The chord is found in several works by Chopin, from as early as 1828, in the Sonata in C minor, Op. 4 and his Scherzo No. 1, composed in 1830. [2] It is only in late works where tonal ambiguities similar to Wagner's arise, as in the Prelude in A minor, Op. 28, No. 2, and the posthumously published Mazurka in F minor, Op. 68, No. 4.