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Anything You Can Do (I Can Do Better)" is a show tune composed by Irving Berlin for the 1946 Broadway musical Annie Get Your Gun. [1] The song is a duet , with one male singer and one female singer attempting to outdo each other in increasingly complex tasks.
"Forever More" is a song by American singer Puff Johnson, released on April 30, 1996, as the first single from her only studio album, Miracle (1996). The ballad [ 1 ] was written by Johnson along with Sally Jo Dakota and Narada Michael Walden , while production was helmed by the latter, with Louis Biancaniello credited as associate producer.
Angie Han of Mashable said the song fares marginally better than "How Does a Moment Last Forever" and "Days in the Sun", but ultimately accused it of slowing down the film. [54] Maria Sciullo of the Pittsburgh Post-Gazette found the ballad to be lacking power and criticized Stevens' use of Auto-Tune, [ 62 ] while Zimbio contributor Lani Conway ...
"Already Gone" is a song recorded by the American rock band the Eagles for their 1974 album On the Border. It was written by Jack Tempchin and Robb Strandlund and produced by Bill Szymczyk. The song was the first single released from On the Border and peaked at No. 32 on the Billboard Hot 100. Since then, the Eagles have included it in their ...
Like other regular tunings, NST allows chord fingerings to be shifted from one set of strings to another. NST's C-G range is wider, both lower and higher, than the E-E range of standard tuning in which the strings are tuned to the open notes E2-A2-D3-G3-B3-E4. The greater range allows NST guitars to play repertoire that would be impractical, if ...
It was a part of the band's set lists for several years before being released as a single in early 1995. His simple four-chord pattern and strong modulation were inspired by Bob Dylan's mastery of the three-chord structure, as well as alt-rock pioneers R.E.M. and the Pixies. "I wanted to talk about the positive things that come from the end of ...
Harmonic movement is largely in an ascending circle of fourths, or with descending chromatic substitutions, but there is also movement between thirds or between major and minor seventh chords. Minor seventh chords are often played in first inversion in this tune, and may therefore be thought of and notated as six chords of the relative major.