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"Thine Own Self" is the 168th episode of the American science fiction television series Star Trek: The Next Generation, and the 16th episode of the seventh season. Set in the 24th century, the series follows the adventures of the Starfleet crew of the Federation starship Enterprise-D. In this episode, Data, suffering from amnesia ...
4: PD Backdoor progression (front door is V7) ii– ♭ VII I: 3: Major Bird changes: I vii ø –III7 vi–II7 v–I7, IV7 iv– ♭ VII7 iii–VI7 ♭ iii– ♭ VI7, ii V7 I–VI7 ii–V: 20: Major Chromatic descending 5–6 sequence: I–V– ♭ VII–IV: 4: Mix. Circle progression: vi–ii–V–I: 4: Major Coltrane changes: Coltrane ...
I–V–vi–IV progression in C Play ⓘ vi–IV–I–V progression in C Play ⓘ The I–V–vi–IV progression is a common chord progression popular across several music genres. It uses the I, V, vi, and IV chords of the diatonic scale. For example, in the key of C major, this progression would be C–G–Am–F. [1] Rotations include:
Thus the chord progression E minor–F–G can be described as three–four–five, (or iii–IV–V). A chord may be built upon any note of a musical scale. Therefore, a seven-note diatonic scale allows seven basic diatonic triads, each degree of the scale becoming the root of its own chord. [1]
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
[1] In the key of C, IV provides the note F ♮ and eliminates the possibility of G major, which requires F ♯. [1] The progression is also often used at the end of works and sections. [1] A popular variant is vi–IV–V–I, commonly known as the "Komuro progression" (小室進行, komuro shinkō), namesake of Tetsuya Komuro who popularised ...
“Anora,” the free-wheeling tale of a sex worker who becomes entangled with the family of a Russian oligarch, and “I Saw the TV Glow,” a horror film about two teenagers whose obsession with ...
These parody the "To be, or not to be" speech of act 3, scene 1; the "Get thee to a nunnery" exchange between Hamlet and Ophelia later in the same scene, and Polonius's "Neither a borrower nor a lender be" speech from act 1, scene 3. The episode employs snippets of dialog taken directly from the original work and musical passages from the ...