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One night, she finds a drunk man named Lloyd sleeping in a shed on her property, but allows him to stay when he denies any knowledge of the killings, eventually inviting him into her guest room. Lloyd helps her with the flock, and encourages her to go into town and visit the pub more often, but she is resistant, preferring to be alone.
The Blues for Alice changes, Bird changes, Bird Blues, or New York Blues changes, is a chord progression, often named after Charlie Parker ("Bird"), which is a variation of the twelve-bar blues. The progression uses a series of sequential ii–V or secondary ii–V progressions, and has been used in pieces such as Parker's " Blues for Alice ".
Bird vocalization includes both bird calls and bird songs. In non-technical use, bird songs (often simply birdsong ) are the bird sounds that are melodious to the human ear. In ornithology and birding , songs (relatively complex vocalizations) are distinguished by function from calls (relatively simple vocalizations).
[3] [2] [4] After the release of their second single and second performance at the Apollo, William Dailey and Morris Smarr left the group [3] and were replaced by Edward "Skip" Boyd (baritone), who had been a member of the Five Sins, and Peggy Jones (tenor), adding a female vocalist to the line up to increase the range.
Musicologists such as Matthew Head and Suzannah Clark believe that birdsong has had a large though admittedly unquantifiable influence on the development of music. [2] [3] Birdsong has influenced composers in several ways: they can be inspired by birdsong; [4] they can intentionally imitate bird song in a composition; [4] they can incorporate recordings of birds into their works; [5] or they ...
The order of the chord progression may be varied; popular chord progression variations using the I, IV and V chords of a scale are: I – IV – V; IV – I – V; I – IV – I – V; I – IV – V – IV; Beside the I, IV and V chord progression, other widely used 3-chord progressions are: [1] I – vi – V; I – ii – V
Close harmony singing was especially popular in the 1940s with pop and R&B groups using the technique quite frequently. The Andrews Sisters also capitalized on a similar style with swing music . Many gospel and soul groups in the 1950s and 60s also used this technique, usually 3- or 4-part SSAA or TTBB harmony with one person (either bass or ...
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.