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"So in Love" is a song by the English electronic band Orchestral Manoeuvres in the Dark (OMD), released as the first single from their sixth studio album Crush (1985). It reached the top 30 of both the UK Singles Chart and the US Billboard Hot 100, becoming their first entry on the latter. The track was a top 10 hit in Belgium and Holland.
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
Music in Twelve Parts transitional thirteenth chord.png 450 × 221; 15 KB Northern lights chord arrangement.mid 22 s; 7 KB Park Avenue Beat polychord.png 450 × 221; 20 KB
"So in Love" is a song by Cole Porter from his 1948 musical Kiss Me, Kate, [1] which is based on Shakespeare's The Taming of the Shrew. It was first sung in the show by Patricia Morison , reprised by Alfred Drake , [ 1 ] and further popularized by Patti Page in 1949 .
The I–V–vi–IV progression is a common chord progression popular across several music genres. It uses the I, V, vi, and IV chords of the diatonic scale. For example, in the key of C major, this progression would be C–G–Am–F. [1] Rotations include: I–V–vi–IV: C–G–Am–F; V–vi–IV–I: G–Am–F–C
Both Krieger and Densmore believe that the Doors’ debut album from 1967 and their fast, loose last record with Jim Morrison, 1971’s “L.A. Woman,” were their band’s finest recordings.
So, the first record he played for me was "Kind of Blue" by Miles Davis and the second record was "A Love Supreme." That person was Peter Falk, so Peter Falk turned me on to jazz music and helped ...
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 ...