Search results
Results From The WOW.Com Content Network
McFarlane concluded that With Friends Like These showcases some of Frith and Kaiser's "most striking performances", and demands repeated listening, which, he said, is unusual for this type of music. [6] Also writing in AllMusic, Rick Anderson described With Friends Like These as "one of the defining documents of the downtown avant-garde scene". [5]
With Friends Like These..., 1998 American film; With Friends Like These, 1979 studio album by Fred Frith and Henry Kaiser; With Friends Like These, 2007 Flemish film; With Friends Like These "With Friends Like These" , a 1997 television episode "With Friends Like" These (Rocko's Modern Life), a story from a 1996 television episode
Friends & Enemies is a 1999 double-CD compilation album of studio and live material by Fred Frith and Henry Kaiser.It contains the complete collaborative recordings of Frith and Kaiser from 1979 to 1999, namely their two studio albums With Friends Like These (1979) and Who Needs Enemies?
A C major chord, the major triad built on the note C (C–E–G), is referred to as the one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's ...
A rock or pop guitarist or keyboardist might literally play the chords as indicated (e.g., the C major chord would be played by playing the notes C, E and G at the same time). In jazz , particularly for music from the 1940s bebop era or later, players typically have latitude to add in the sixth, seventh, and/or ninth of the chord.
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 ...
For example, in the open-G overtones tuning G–G–D–G–B–D, the (G,B) interval is a major third, and of course each successive pair of notes on the G- and B-strings is also a major third; similarly, the open-string minor-third (B,D) induces minor thirds among all the frets of the B-D strings.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11 ).