Ads
related to: all us no luck chords piano book 2roli.com has been visited by 10K+ users in the past month
play.pianoinaflash.com has been visited by 10K+ users in the past month
Search results
Results From The WOW.Com Content Network
Approach chord; Chord names and symbols (popular music) Chromatic mediant; Common chord (music) Diatonic function; Eleventh chord; Extended chord; Jazz chord; Lead sheet; List of musical intervals; List of pitch intervals; List of musical scales and modes; List of set classes; Ninth chord; Open chord; Passing chord; Primary triad; Quartal chord ...
Locked hands style is a technique of chord voicing for the piano. Popularized by the jazz pianist George Shearing, it is a way to implement the "block chord" method of harmony on a keyboard instrument. The locked hands technique requires the pianist to play the melody using both hands in unison.
Magic chord (as played in The Well-Tuned Piano). [ 3 ] The Magic Chord is a chord and installation (1984) created by La Monte Young , consisting of the pitches E, F, A, B ♭ , D, E, G, and A, in ascending order and used in works including his The Well-Tuned Piano and Chronos Kristalla (1990). [ 1 ]
In the 1950s the Modern Jazz Fake Book, Volumes 1 and 2 was issued, and Fake Book Volume 3, containing about 500 songs, came out in 1961. The music in Fake Books 1, 2, and 3 was photocopied or reset with a musical typewriter from the melody lines of the original sheet music. Usually chord symbols, titles, composer names, and lyrics were ...
[citation needed] The track peaked at No. 9 in the United Kingdom in January 2000. [1] In the same year they released a cover of "Master Blaster (Jammin)" by Stevie Wonder, retitled "Masterblaster 2000", which featured the vocals of JJ, who is on a number of Luck & Neat's songs. The track was their highest British chart entry, reaching No. 5 in ...
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in "locked-hands" [1] rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. [1]