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Tulus is the debut studio album by Indonesian recording artist Tulus. The album was produced by Ari Renaldi and released by Tulus Record in September 2011. It also launched by Demajors. The album contains 10 songs, including "Merdu Untukmu", "Diorama", and "Sewindu".
Ari Renaldi is an Indonesian music producer, composer, arranger, sound and mixing engineer, music director and musician. His production credits include Mocca, Tulus, Vidi Aldiano, Raisa Andriana, Afgan, Yura Yunita, Sezairi Sezali, Maudy Ayunda, Rossa, Ungu, Juicy Luicy, Yovie & Nuno amongst many others.
The songs were written by Tulus, except "Baru", written by Tulus and Ferry Nurhayat. Gajah was listed to entering for Top 9 Indonesian Album by Indonesian Tempo magazine. The album won two awards (Best of the Best Album and Best Pop Album) at the 2015 Anugerah Musik Indonesia . [ 2 ]
Tulus released a new theme song in support of this campaign. Tulus composed a single, entitled "Lekas", which was used on the soundtrack for the Indonesian movie, 3 Nafas Likas (2014). In mid 2015, Tulus created a song with Ran, an Indonesian music group, for that will be used in an ad campaign for Listerine.
In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the "key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in
IV M7 –V 7 –iii 7 –vi chord progression in C. Play ⓘ One potential way to resolve the chord progression using the tonic chord: ii–V 7 –I. Play ⓘ. The Royal Road progression (王道進行, ōdō shinkō), also known as the IV M7 –V 7 –iii 7 –vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō), [1] is a common chord progression within ...
The Rhythm changes is a common 32-bar jazz chord progression derived from George Gershwin's "I Got Rhythm". The progression is in AABA form , with each A section based on repetitions of the ubiquitous I–vi–ii–V sequence (or variants such as iii–vi–ii–V), and the B section using a circle of fifths sequence based on III 7 –VI 7 ...
It was the first seventh chord to appear regularly in classical music. The V 7 chord is found almost as often as the V, the dominant triad, [5] and typically functions to drive the piece strongly toward a resolution to the tonic of the key. A dominant seventh chord can be represented by the integer notation {0, 4, 7, 10} relative to the dominant.