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The Harmonious Blacksmith is the popular name of the final movement, Air and variations, of George Frideric Handel's Suite No. 5 in E major, HWV 430, for harpsichord.This instrumental air was one of the first works for harpsichord published by Handel and is made up of four movements. [1]
Down by the Riverside" (also known as "Ain't Gonna Study War No More" and "Gonna lay down my burden") is an African-American spiritual. Its roots date back to before the American Civil War , [ 1 ] though it was first published in 1918 in Plantation Melodies: A Collection of Modern, Popular and Old-time Negro-Songs of the Southland , Chicago ...
The ChordPro (also known as Chord) format is a text-based markup language for representing chord charts by describing the position of chords in relation to the song's lyrics. ChordPro also provides markup to denote song sections (e.g., verse, chorus, bridge), song metadata (e.g., title, tempo, key), and generic annotations (i.e., notes to the ...
Original autograph score, 1842. Zoom. The Polonaise in A♭ major, Op. 53 (French: Polonaise héroïque, Heroic Polonaise; Polish: Heroiczny) is a solo piano piece composed by Frédéric Chopin in 1842 [1] The piece is published in 1843, [2] and is one of Chopin's most admired compositions and has long been a favorite of the romantic piano repertoire. [3]
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 vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Verse–chorus form is a musical form going back to the 1840s, in such songs as "Oh! Susanna", "The Daring Young Man on the Flying Trapeze", and many others. [1] [2] It became passé in the early 1900s, with advent of the AABA (with verse) form in the Tin Pan Alley days.
Major and minor chords a step apart were meant to "represent the sternness and strength and austerity of the Puritan character." [14] The piece also contains "a scythe or reaping harvest theme which is a kind of off-beat, off-key counterpoint." [14]