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Britons never, never, never shall be slaves... We lowered a boat to find him, We thought to see his corse, When up to the top he came with a bang, And sang in a voice so hoarse, 'My comrades and my messmates, Oh, do not weep for me, For I'm married to a mermaid, At the bottom of the deep blue sea.' Singing Rule Britannia, Britannia rules the waves
Through the use of double-entendre, at least in the English versions, it tells of an encounter between a grenadier (or soldier) and a lady. [1] Lyrics have been traced to the late 17th or early 18th century. There are a number of textual variants, and the song has many titles.
There are few keys in which one may play the progression with open chords on the guitar, so it is often portrayed with barre chords ("Lay Lady Lay"). The use of the flattened seventh may lend this progression a bluesy feel or sound, and the whole tone descent may be reminiscent of the ninth and tenth chords of the twelve bar blues (V–IV).
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
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.
"Ukulele Lady" is a popular standard, an old evergreen song by Gus Kahn and Richard A. Whiting. Published in 1925, the song was first made famous by Vaughn De Leath. [1]It has been recorded by the Paul Whiteman Orchestra with vocals by the Southern Fall Colored Quartet on June 3, 1925 (catalog No. 19690B); Frank Crumit recorded June 10, 1925 for Victor Records (catalog No. 19701); Lee Morse in ...
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Thus, in the simple chord progression I–ii–V–I, which in the key of C major would be the chords C Major–D minor–G Major–C Major, a musician could replace the I chords with "tonic substitutes". The most widely used substitutes are iii and vi (in a Major key), which in this case would be the chords "E minor" and "A minor".