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"Sir Duke" is a song composed and performed by Stevie Wonder from his 1976 album Songs in the Key of Life. Released as a single in 1977, the track topped the U.S. Billboard Hot 100 and Black Singles charts, [ 4 ] and reached number two in the UK Singles Chart , his joint biggest hit there at the time.
Hymn-style arrangement of "Adeste Fideles" in standard two-staff format (bass staff and treble staff) for mixed voices Tibetan musical score from the 19th century. Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece.
Biblical Songs was written between 5 and 26 March 1894, while Dvořák was living in New York City. It has been suggested that he was prompted to write them by news of a death (of his father Frantisek, or of the composers Tchaikovsky or Gounod, or of the conductor Hans von Bülow); but there is no good evidence for that, and the most likely explanation is that he felt out of place in the ...
Peacock also had a very successful gospel music division, which released music from such notable gospel artists as the Dixie Hummingbirds, the Mighty Clouds of Joy, the Sensational Nightingales, [1] the Five Blind Boys of Mississippi, Reverend Cleophus Robinson, , the Gospelaires, the Pilgrim Jubilee Singers, the Loving Sisters, and gospel/jazz ...
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First Time! The Count Meets the Duke is an album by American pianists, composers and bandleaders Duke Ellington and Count Basie with their combined Orchestras recorded and released on the Columbia label in 1961. [1] On stereo releases of the album, Basie's band is featured on the left channel and Ellington's on the right.
So Thou Liftest Thy Divine Petition (tenor and bass solo duet) The Mystery of the Intercession (hymn) And One of the Malefactors (bass solo and male chorus) – text from Luke 23:39–43; The Adoration of the Crucified (hymn) When Jesus Therefore, Saw His Mother (tenor solo and male chorus) – text from John 19:26–27, Matthew 27:45, Mark 15:34
He did, however, contribute to the legitimacy of the double bass as a melodic instrument, "open[ing] the door for virtuosos like [Duke Ellington Orchestra bassist] Jimmy Blanton to garner more respect for the instrument", through improvisation. "Without Page setting the table", writes DiCaire, "the exploits of Blanton would never have happened."