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"Let It Whip" is a 1982 single by Dazz Band and their biggest hit, peaking at number one on the R&B chart for five non-consecutive weeks. [2] The single also reached number two on the Dance chart [3] and number five on the Billboard Hot 100 chart. [4] The song won the 1982 Grammy Award for Best R&B Performance by a Duo or Group with Vocals.
Knock!" which reached the top 50. Dazz Band's breakthrough came with the hit "Let It Whip", [2] written and produced by Reggie Andrews, from their Keep It Live (1982) album. [2] "Let It Whip" reached No. 1 on the US Billboard R&B chart and won a Grammy Award for Best R&B Performance by a Duo or Group with Vocals. [2]
Four and one half steps down from standard Drop A. Used by Within the Ruins on the album Phenomena with the variation C-F-c-f-A♯-D-G. Drop B0 – B-F ♯-B-E-A-C ♯-F ♯ / B-G ♭-B-E-A-D ♭-G ♭ Five full steps down from standard Drop A. Six full steps (one octave) down from a baritone Drop B guitar; Drop A
The first is in equal temperament; the second is in just intonation. The pair of chords is repeated with a transition from equal temperament to just intonation between the two chords. In the equal temperament chords a roughness or beating can be heard at about 4 Hz and about 0.8 Hz. In the just intonation triad, this roughness is absent.
"Now let's get back to this mic on my arm / If it ever left my side, it'll transform into a time bomb / You don't wanna borrow that, you wanna idolize / And you don't wanna make me mad, nigga, you wanna socialize." Before the song was released, LL Cool J asked Canibus to change his lines.
"Whip It" is a new wave and synth-pop song, [10] that is built around a consistent 4/4 beat known as a motorik beat. [4] [5] It is constructed in verse–chorus form.With a chord progression of D-A-E7sus4 in the verses and C-G-D in the choruses, the song is written in the key of E major. [11] "
The so-called "Pythagorean tuning" was used by musicians up to the beginning of the 16th century. "The Pythagorean system would appear to be ideal because of the purity of the fifths, but some consider other intervals, particularly the major third, to be so badly out of tune that major chords [may be considered] a dissonance." [2]
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.