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Till the last foe is laid low in the grave! Till the last foe is laid low in the grave! God save the South, God save the South, Dry the dim eyes that now follow our path. Still let the light feet rove safe through the orange grove, Still keep the land we love safe from Thy wrath. Still keep the land we love safe from Thy wrath.
Slang for fermata, which instructs the performer to hold a note or chord as long as they wish or following cues from a conductor bis (Fr., It.) Twice (i.e. repeat the relevant action or passage) bisbigliando Whispering (i.e. a special tremolo effect on the harp where a chord or note is rapidly repeated at a low volume) bocca chiusa
Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F♯, the tone a major third above D). Baroque guitar standard tuning – a–D–g–b–e
The first chord, sustained from bars 69–72, is a D minor chord, the relative minor of the dominant, F major. The second chord, sustained from bars 75–79, is an F ♯ diminished seventh chord , resolving to G minor in measure 80, which signifies the return of trading moving sixteenth notes.
A brash, heavy-handed, low register accompaniment in broken chords captures the Miller's manic and effusive machismo, and the vocal line features athletic melisma in nearly every bar. In a near-comical fortissimo flourish, a deliberately muddy fully voiced D major chord closes the first half of the work.
"The Ballad of Curtis Loew" [2] [3] [4] is a song written by Allen Collins and Ronnie Van Zant and recorded by Lynyrd Skynyrd. The song was first released on the band's 1974 album, Second Helping [5] and again on their compilation, The Essential Lynyrd Skynyrd and later on All Time Greatest Hits.
This week, explore decoded words from charred ancient scrolls, meet heroic frog daddies, see Grand Canyon-size lunar features, and more.
The song is performed in the key of E minor [6] and Attwood sees the desolate lyrical landscape as being reflected in the descending chord progression of the music: "the chords of E minor and D rock back and forth, and the verse ends with a descent of E minor, D major, B minor, A major – and the descent is a descent in every respect. It feels ...