Search results
Results from the WOW.Com Content Network
Robert Hunter wrote the lyrics in 1970 in London on the same afternoon he wrote those to "Brokedown Palace" and "To Lay Me Down" (reputedly drinking half a bottle of retsina in the process). [3] Jerry Garcia wrote the music to accompany Hunter's lyrics, [ 3 ] and the song debuted August 18, 1970 at Fillmore West in San Francisco.
Download as PDF; Printable version; In other projects ... I–V–vi–IV chord progression in C ... 3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I ...
Ripple was an American funk band from Michigan. The group was signed to GRC Records and Salsoul Records in the 1970s and scored several hit singles , the biggest of which were "I Don't Know What It Is, but It Sure Is Funky" [ 1 ] and "The Beat Goes On and On," the latter on Salsoul Records , joined by the Salsoul Orchestra .
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement.Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition.
The practice of adding tones may have led to superimposing chords and tonalities, though added tone chords have most often been used as more intense substitutes for traditional chords. [3] For instance a minor chord that includes a major second factor holds a great deal more dramatic tension due to the very close interval between the major ...
When the symbol "9" is not preceded by the word "major" or "maj" (e.g., C 9), the chord is a dominant ninth. That is, the implied seventh chord is a dominant seventh , i.e. a major triad plus the minor seventh, to which the ninth is added: e.g., a C 9 consists of C, E, G, B ♭ and D. C dominant ninth (C 9 ) would usually be expected to resolve ...
[12] In jazz, 7 ♯ 9 chords, along with 7 ♭ 9 chords, are often employed as the dominant chord in a minor ii–V–I turnaround. For example, a ii–V–I in C minor could be played as: Dm 7 ♭ 5 – G 7 ♯ 9 – Cm 7. The 7 ♯ 9 represents a major divergence from the world of tertian chord theory, where chords are stacks of major and ...