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Nirvana recorded a version of "Dumb" for the BBC at Maida Vale Studios, England, in September 1991, two years before the song's official release on In Utero. "Dumb" was written by Cobain in the summer of 1990, as the band began to move away from the heavier grunge sound of their debut album, Bleach, towards more openly melodic, pop-influenced material. [5]
Scentless Apprentice" is composed in the key of F Minor, while Cobain's vocal range spans one octave and four notes, from a low of B ♭ 3 to a high of F 4. [9] The song has a basic sequence of F 5 –E ♭ 5 /C–F 5 –E ♭ 5 /C–F 5 –E ♭ 5 /C–F 5 in the verses and F ♯ 6 –F ♯ 7 –F ♯ maj7 –F ♯ during the refrain as its ...
"On a Plain" was recorded in the key of E major, with Cobain's guitar tuned to drop D. The song starts with a noise intro played by Cobain, with an audible handclap. After a short pause the main riff comes in with the power chords D5-G5-F5-E5-F5-E5-D5 played twice then followed by the power chords D5-C5-B5-A5 followed by the first progression ...
Lithium" is composed in the key of D major, with guitars tuned down a whole tone, and chord shapes resembling chords in the key of E major, while Kurt Cobain's vocal range spans one octave and three notes, from the low-note of C 3 to the high-note of F 4. [16]
Large symphonic chord voicings can be played on the chordboard [4] with 12 notes available for each of the seven chord zones (84 active notes total). Each white key on the MIDI keyboard used represents an individual note within a chord zone, and is mapped to a note within a harmonic chord voicing pattern programmed for each chord, according to major-minor tonality and a particular voicing ...
Like some other In Utero songs, "Dumb" was extensively bootlegged long before the album was released; when Cobain played its opening chords during Nirvana's set at the Reading Festival in August 1992, a large part of the audience started to sing along, prompting Nirvana bassist Krist Novoselic to joke, "Power of the bootleg, Kurt!"
In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its relative minor (the major key either preceding the minor key or following it) with none of the tonalities occurring twice (except for C major, which appears in No. 1 and then in the only couple which is not major-minor, i.e. Nos. 7 ...
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.