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" O Tannenbaum" (German: [oː ˈtanənbaʊm]; "O fir tree"), known in English as "O Christmas Tree", is a German Christmas song. Based on a traditional folk song that was unrelated to the holiday, it became associated with the traditional Christmas tree .
The album contains seven original compositions: "Don't Save It All for Christmas Day" (co-written by Celine Dion; [7] covered by Avalon in 2000 [8] and Clay Aiken in 2004 [9]), "Another Year Has Gone By" (written and produced by Bryan Adams), a solo version of "The Magic of Christmas Day" (recorded in 1999 as a duet with Rosie O'Donnell and ...
"The Magic of Christmas Day (God Bless Us Everyone)" (These Are Special Times, 1998) / (featuring Rosie O'Donnell (A Rosie Christmas, 1999) " The Power of Love " ( The Colour of My Love , 1993) " The Power of the Dream " ( It's All Coming Back To Me Now single, 1996)
Great Mass in C minor, K. 427 (417a) Piano Concerto No. 24, K. 491) Maurerische Trauermusik K. 477 (479a) Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte, K. 517; Adagio and Fugue in C minor. K. 546; Wind Serenade in C minor. K. 388 (384a) Fantasy in C minor for violin and piano, K. 396 (385f) Piano Sonata in C minor, K. 457 ...
A minor triad has a minor third (m3) on the bottom, a major third (M3) on top, and a perfect fifth (P5) between the outer notes. In harmonic analysis and on lead sheets, a C minor chord can be notated as Cm, C−, Cmin, or simply the lowercase "c". A minor triad is represented by the integer notation {0, 3, 7}.
The five-minute version of "O Tannenbaum" (#2, Take 1) is prominently featured during the scene where Charlie Brown and Linus shop for a Christmas tree, showcasing Guaraldi's jazz-inspired arrangement of the classic carol. Guaraldi's ability to reinterpret traditional holiday music was evident in his treatment of "O Tannenbaum". A fresh ...
Using lead sheet chord names, these chords could be referred to as A minor, D minor, G major and C major. [ 1 ] In music theory , Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals , which encode the chord's degree and harmonic function within a given musical key .
The parallel chord (but not the counter parallel chord) of a major chord will always be the minor chord whose root is a minor third down from the major chord's root, inversely the parallel chord of a minor chord will be the major chord whose root is a minor third up from the root of the minor chord. Thus, in a major key, where the dominant is a ...