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"Levitating" is a song by English and Albanian singer Dua Lipa from her second studio album, Future Nostalgia (2020). The song was written by Lipa, Clarence Coffee Jr. , Sarah Hudson , and Koz , who produced the song with Stuart Price , and stemmed from a Roland VP-330 synthesizer sample played by Koz.
The verses follow a B ♭ 5–G ♭ –A ♭ chord progression, whilst the chorus adds an additional E ♭ chord to the sequence. [5] [6] The song has a structure of verse, bridge, chorus, verse, bridge, chorus, middle eight, chorus. [7] Described by Lipa as her "festival song," [8] "Hallucinate" is a disco-house track.
4 time and the key of E minor, with a tempo of 100 beats per minute and a chord progression of Em–D–G/Bm–C. [10] The track is backed by an electro palm-muted electric guitar riff, [8] [11] a militaristic drum line, [12] [13] a piano and a multi-tracked chorus. [14] Lipa uses a deadpan vocal delivery, ranging two octaves from D 3 to D 5.
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
The scheme I-x-V-I symbolizes, though naturally in a very summarizing way, the harmonic course of any composition of the Classical period.This x, usually appearing as a progression of chords, as a whole series, constitutes, as it were, the actual "music" within the scheme, which through the annexed formula V-I, is made into a unit, a group, or even a whole piece.
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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. The right hand plays a 4-note chord inversion in which the melody note is the highest note in the voicing.
Triads (or any other tertian chords) are built by superimposing every other note of a diatonic scale (e.g., standard major or minor scale). For example, a C major triad uses the notes C–E–G. This spells a triad by skipping over D and F. While the interval from each note to the one above it is a third, the quality of those thirds varies ...