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The Westphalia Waltz is an historic Texas waltz by Cotton Collins, a fiddler with the Lone Star Playboys, named after the town of Westphalia, Texas. [2] [3]The Westphalia Waltz melody is derived from a well known Polish tune that goes by several names, among them "Pytala Sie Pani" and "Wszystkie Rybki."
Like most fiddle tunes, "Blackberry Blossom" has an A part and a B part. In Arthur Smith's 1935 version, the A part is in the key of G major, with C and D chords in the second half of the part; the B part introduces an E major chord, making for a rather unusual mood shift.
Old time fiddle tunes are derived from European folk dance forms such as the jig, reel, breakdown, schottische, waltz, two-step, and polka. When the fiddle is accompanied by banjo, guitar, mandolin, or other string instruments, the configuration is called a string band. The types of tunes found in old-time fiddling are called "fiddle tunes ...
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
In Baroque music, G major was regarded as the "key of benediction". [1] Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of 6 8 chain rhythms", according to Alfred Einstein, [2] although Bach also used the key for some 4
"Red Wing" is a popular song written in 1907 with music by F.A Mills and lyrics by Thurland Chattaway. Mills adapted the music of the verse from Robert Schumann 's piano composition "The Happy Farmer, Returning From Work" from his 1848 Album for the Young , Opus 68.
The chord-scale system may be compared with other common methods of improvisation, first, the older traditional chord tone/chord arpeggio method, and where one scale on one root note is used throughout all chords in a progression (for example the blues scale on A for all chords of the blues progression: A 7 E 7 D 7).
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]