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Midnight Blue is a 1963 [5] [6] [7] album by jazz guitarist Kenny Burrell featuring Stanley Turrentine on tenor saxophone, Major Holley on double bass, Bill English on drums and Ray Barretto on conga, and is one of Burrell's best-known works for Blue Note. [8]
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}.
"Midnight Blue" is a song by American rock singer-songwriter Lou Gramm, issued as a 7" single in the United States in January 1987 by Atlantic Records. It was the lead-off single from Gramm's debut album, Ready or Not, released in February 1987. An extended remix of the song was available as a 12" single.
"All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a twelve-bar blues in 6 8; the chord sequence is that of a basic blues and made up entirely of seventh chords, with a ♭ VI in the turnaround instead of just the usual V chord. In the composition's original key of G this chord is ...
Midnight Blue is the title of Louise Tucker's 1982 debut album.. Total sales for the lead single, "Midnight Blue", and the resultant album totaled seven million.[1]Midnight Blue reached number 1 in France and number 1 in Canada, and in various countries around the world.
Allmusic said "these pieces on Midnight Blue all feel very ponderous, open, and yet unyielding. This is uncharacteristic of most of Collier's work, and it feels as if even he didn't know what he was going for when he wrote these works.
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.
It is a 16-bar tune with an AABA-form. The 4-bar A-section is essentially in C major but borrows tones from the parallel C minor scale, and is transposed up a fourth to create the B section of the form. The tune also appears on Miles Davis and the Modern Jazz Giants [13] and Brilliant Corners, featuring Max Roach with a timpani drum added to ...