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Move Along is the second studio album by the American rock band the All-American Rejects, released on July 12, 2005, by Interscope Records.It spawned three top 15 singles, which helped the album ship 3 million units to be certified triple platinum by the Recording Industry Association of America (RIAA).
Sound designer and audiographer Richard King relayed to Zimmer the sound of a boat engine, which served as a reference for the tempo. [3] Wanting the "audience to feel uncomfortable", King wanted the practical sounds in the picture to provide the texture — the dive bombers, sinking ships, explosions, and the ticking clock.
The arrangement requires temple blocks to be used as the sound of the clock that is heard throughout, except for a brief section in the middle. The piece is in 4 4 time; the opening establishes a perfectly regular "tick-tock" accompaniment, beginning with a roll off the orchestra's staccato strike of an A chord, creating an expectation that it will continue.
This is an accepted version of this page This is the latest accepted revision, reviewed on 14 January 2025. This is a list of onomatopoeias, i.e. words that imitate, resemble, or suggest the source of the sound that they describe. For more information, see the linked articles. Human vocal sounds Achoo, Atishoo, the sound of a sneeze Ahem, a sound made to clear the throat or to draw attention ...
Towards the middle of the movement, there is a dark, fierce passage in G minor, followed by Haydnesque humor and finally the clock theme once again. Michael Steinberg said, "Haydn has a gratifying number of different clocks in his shop, offering 'tick-tock' in a happy variety of colors."
"7 O'Clock News/Silent Night" is a song by American music duo Simon & Garfunkel from their third studio album, Parsley, Sage, Rosemary and Thyme (1966). The track is a sound collage juxtaposing a rendition of the Christmas carol " Silent Night " with a simulated " 7 O'Clock News " bulletin consisting of actual events from the summer of 1966.
The tool also had the purpose of making crowd noise sound like an up-hat in the second verse, which he described as "the coolest idea he's ever had". [4] Kirpatrick also used a clock ticking as a percussion element for almost the entire song. The producer layered the drums, with elements including a little kick and adding a transient to the snare.
Clock towers that chimed on the hour appeared in Italy by the 13th century. [3] (p 173) They were common enough by the 15th century that, in 1463, Englishman John Baret willed funds to the sexton of St. Mary's Church so that he would "keep the clock, take heed to the chimes, [and] wind up the pegs and the plummets as often as need". [3] (p 111)