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Instead of extending the first section, one adaptation extends the third section. Here, the twelve-bar progression's last dominant, subdominant, and tonic chords (bars 9, 10, and 11–12, respectively) are doubled in length, becoming the sixteen-bar progression's 9th–10th, 11th–12th, and 13th–16th bars, [citation needed]
The Great Ray Charles is the second studio album by the American musician Ray Charles, released in 1957 by Atlantic Records.An instrumental jazz album, [1] it features cover art designed by Marvin Israel.
The debut recording with Ethel Waters was recorded on Black Swan Records (1921) and rapidly became a hit. Her rendition features the rarely-heard 6-bar instrumental intro, [b] followed by her singing the 1st verse (16 bars, plus 1), then her singing the 1st chorus (16 bars, plus 2), then instruments playing 8, plus 2 bars of the chorus, finishing with her singing the 1st chorus (16 bars, plus 2).
Second Construction was composed in 1940 and scored for four percussionists. This work, which adopts roughly the same rhythmic scheme as in First Construction (sixteen 16-bar sections, only the proportion is different—here it is 4, 3, 4, 5), is notable for the use of prepared piano: although the technique is that of string piano, the score instructs to place a piece of cardboard and a screw ...
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Howe and Squire play short staccato ascending and descending syncopated [2] three-note lines on overdriven electric guitar and bass, while Wakeman plays a similarly staccato organ part of suspended chords that slowly descend until they start being held and resolve to an E ♭ major 7th after 12 bars. The 16 bars are then repeated. [12]
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It contains no chorus and abandons the typical 16-bar construction of a rap verse. Instead, the song presents the lyrics in a list and offers a short, witty explanation of each. Bracketing this list are an intro and outro that outline Biggie's credentials for sharing the list and explore what might happen if the listener does not abide by these ...