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All or Nothing at All is a studio album by Billie Holiday, released in 1958 on Verve Records, catalog MGV8329. [4] There are 12 songs on the LP taken from five different recording sessions that took place in 1956 and 1957. [ 5 ]
William Moore Jr. (December 7, 1917, Parkersburg, West Virginia — February 28, 1989, Copenhagen) was an American jazz pianist and arranger. Moore was chiefly known as an arranger for most of his jazz career, writing charts for Jimmie Lunceford , Charlie Barnet , Jan Savitt , and Tommy Dorsey in the 1940s.
Miss Holiday stepped from between the curtains, into the white spotlight awaiting her, wearing a white evening gown and white gardenias in her black hair. She was erect and beautiful; poised and smiling. And when the first section of narration was ended, she sang – with strength undiminished – with all of the art that was hers.
A chord is several notes sounded simultaneously. Two-note chords are called dyads, three-note chords built by using the interval of a third are called triads. Arpeggiated chord A chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. It is also called a broken chord, a rolled chord ...
Hymn-style arrangement of "Adeste Fideles" in standard two-staff format (bass staff and treble staff) for mixed voices Tibetan musical score from the 19th century. Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece.
Alias Smith and Jones – Billy Goldenberg; Alice ("There's a New Girl in Town") – (music by David Shire) (lyrics by Alan and Marilyn Bergman) (sung by Linda Lavin) Alien Nation – Kenneth Johnson and David Kurtz; Aliens in the Family – Todd Rundgren; All at No. 20 – Denis King; All Creatures Great and Small – ("Piano Parchment") by ...
Artist Song title Date Highest position on US charts Highest position on UK charts Highest position on R&B charts Miscellaneous Bill Justis "Raunchy" 1957
In the Middle Ages, simultaneous notes a fourth apart were heard as a consonance.During the common practice period (between about 1600 and 1900), this interval came to be heard either as a dissonance (when appearing as a suspension requiring resolution in the voice leading) or as a consonance (when the root of the chord appears in parts higher than the fifth of the chord).
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