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"More Than a Woman" is a song by musical group the Bee Gees, written by Barry, Robin, and Maurice Gibb [3] for the soundtrack to the film Saturday Night Fever. It became a regular feature of the group's live sets from 1977 until Maurice Gibb's death in 2003 and was often coupled with " Night Fever ".
The Italian word for "echo"; an effect in which a group of notes is repeated, usually more softly, and perhaps at a different octave, to create an echo effect égal (Fr.) Equal eilend (Ger.) Hurrying ein wenig (Ger.) A little einfach (Ger.) Simple emporté (Fr.) Fiery, impetuous en animant (Fr.) Becoming very lively en cédant (Fr.) Yielding en ...
At ten words, including the parenthetical part "Hey Won't You Play", it became the longest title of any single to top the Hot 100 up to that time. It would hold the record for six years until " Stars on 45 " by Stars on 45 , whose proper charting title is 41 words long due to a copyright agreement, climbed to the top in the summer of 1981.
"More Than a Woman" is a song by American R&B singer Angie Stone. It was written by Calvin Richardson, Balewa Muhammad, Eddie Ferrell, Darren Lighty, and Clifton Lighty for her second studio album Mahogany Soul (2001), with Ferrell and Darren Lighty producing the song and Richardson having featured vocals.
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement.Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition.
Another example of the later Beethoven's daring approach to voicing can be found in the second movement of his Hammerklavier Sonata, Op. 106. In the trio section of this movement (bars 48ff), Martin Cooper notes that “Beethoven has enhanced the strangeness of the effect by laying out much of the music four or five octaves apart, with no ...
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]