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"Fly Me to the Moon", originally titled "In Other Words", is a song written in 1954 by Bart Howard. The first recording of the song was made in 1954 by Kaye Ballard . Frank Sinatra's 1964 version was closely associated with the Apollo missions to the Moon .
Bart Howard, "Fly Me to the Moon" The song opens with a pattern of descending phrases – in essence, the hook of the song – presented with a soothing predictability, almost as if the future direction of the melody is dictated by the opening five notes. The harmonic progression, for its part, rarely departs from the circle of fifths. [21]
IV-V-I-vi chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV– ♭ VII–IV: I–IV– ♭ VII–IV. 3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I with tritone substitution (♭ II7 instead of V7) ii– ♭ II –I: 3: Major ii-V-I with ♭ III + as dominant ...
Bart Howard (born Howard Joseph Gustafson, June 1, 1915 – February 21, 2004) was an American composer and songwriter, most notably of the jazz standard "Fly Me to the Moon", which has been performed by Kaye Ballard, Judy Garland, Frank Sinatra, Tony Bennett, Ella Fitzgerald, Nancy Wilson, Della Reese, Bobby Womack, Diana Krall, Paul Anka, June Christy, Brenda Lee, Astrud Gilberto, Nat King ...
A chord built upon the note E is an E chord of some type (major, minor, diminished, etc.) Chords in a progression may also have more than three notes, such as in the case of a seventh chord (V 7 is particularly common, as it resolves to I) or an extended chord.
The Nashville Number System is a trick that musicians use to figure out chord progressions on the fly. It is an easy tool to use if you understand how music works. It has been around for about four hundred years, but sometime during the past fifty years [approximately 1953–2003], Nashville got the credit.
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.