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The music is complex and triadic only in an idiosyncratic sense, based almost entirely around various inversions and transpositions of Scriabin's matrix sonority: A D ♯ G C ♯ F ♯ B. Sabaneyev referred to this chord, which opens the work in an eerily static fashion, as the "chord of Prometheus". It has subsequently become known as the ...
The piece was originally intended to be Scriabin's eleventh sonata; [1] however, he had to publish it early because of financial concerns, and hence he labelled it a poem rather than a sonata. Like many of Scriabin's late works, the piece does not conform to classical harmony and is instead built on the mystic chord and modal transpositions of ...
Incidental music for a version of the play Eurydice by Jean Anouilh: Stage: 1956: せむしの聖女: A Hunchbacked Sacred Woman: Incidental music a reworking of the play Ardèle ou la Marguerite by Jean Anouilh: Stage: 1956: Kの死: The Death of K (K no shi) Incidental music for the play by Shuntarō Tanikawa: Stage: 1956: タンタロスの ...
The term "chord chart" can also describe a plain ASCII text, digital representation of a lyric sheet where chord symbols are placed above the syllables of the lyrics where the performer should change chords. [6] Continuing with the Amazing Grace example, a "chords over lyrics" version of the chord chart could be represented as follows:
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 reviewer of The Age considered The Flame a collection apt for long-time fans, calling Cohen "always observant and amused, even when he is the butt of his own jokes" and finding "moments of brilliance and moments of beauty" in the book, with many poems and lyrics "that are comforting and familiar with their waltzy rhythms and mesmerising ...
John Masey Wright and John Rogers' illustration of the poem, c. 1841 "Auld Lang Syne" (Scots pronunciation: [ˈɔːl(d) lɑŋ ˈsəi̯n]) [a] [1] is a Scottish song. In the English-speaking world, it is traditionally sung to bid farewell to the old year at the stroke of midnight on Hogmanay/New Year's Eve.
It consists of settings of six poems from A. E. Housman's 1896 collection A Shropshire Lad. Butterworth set another five poems from A Shropshire Lad in Bredon Hill and Other Songs (1912). Nine of the eleven songs were premiered at Oxford on 16 May 1911, by James Campbell McInnes (baritone) and the composer (piano).