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"Easy" is a song by American band Commodores from their fifth studio album, Commodores (1977), released on the Motown label. Group member Lionel Richie wrote "Easy" with the intention of it becoming another crossover hit for the group given the success of a previous single, "Just to Be Close to You", which spent two weeks at number one on the US Billboard Hot Soul Singles chart (now known as ...
The chord progression D ♭ maj7 – C 7 ♭ 9 – F m7 – E ♭ m7 A ♭ 7 of its intro and verse can be thought of as a double-time modified reordering of the first four bars of the "Sunny" chord progression. [5] "Just the Two of Us" restarts this progression but settles on the minor tonic: D ♭ maj7 – C 7 ♭ 9 – F m7 – %. Its chorus ...
"Two of Us" is a song co-written and recorded by Canadian country music artist Brett Kissel and American country artist Cooper Alan. The two artists wrote the song with Matt McKinney and Seth Mosley , while Mosley produced the track with Michael "X" O'Connor.
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Locked hands style is a technique of chord voicing for the piano. 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.
A piece performed by two pianists performing together on the same piano is a "piano duet" or "piano four hands". [1] A piece for two pianists performing together on separate pianos is a "piano duo". "Duet" is also used as a verb for the act of performing a musical duet, or colloquially as a noun to refer to the performers of a duet.
[1] Harvey Siders reviewed Alone for the Jazz Times and wrote that "This collection of standards plus three originals reveals his prodigious technique along with other trademarks. Most notable is his ability to change keys in the most unexpected places."
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.
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