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"Finally" is a song by American singer-songwriter CeCe Peniston, released in September 1991 by A&M Records as her debut single from her first album of the same name (1992). Co-written by her, it received critical acclaim, becoming Peniston's first (and biggest) hit song, peaking at number five on the US Billboard Hot 100 in January 1992.
An example: Dieterich Buxtehude's O dulcis Jesu (BuxWV 83) in full score using tablature Keyboard tablature is a form of musical notation for keyboard instruments.Widely used in some parts of Europe from the 15th century, it co-existed with, and was eventually replaced by modern staff notation in the 18th century.
A guitarist performing a C chord with G bass. In Western music theory, a chord is a group [a] of notes played together for their harmonic consonance or dissonance.The most basic type of chord is a triad, so called because it consists of three distinct notes: the root note along with intervals of a third and a fifth above the root note. [1]
Jane’s Addiction playing Stanhope, New Jersey in 1991. From left, Dave Navarro on electric guitar, a Greek goddess on fruit, Eric Avery on bass guitar, and singer Perry Farrell on mouth.
Beethoven Piano Sonata 29, second movement, bars 48-54 Beethoven Piano Sonata 29, second movement, bars 48-54. During the Romantic Era, composers continued further in their exploration of sonorities that can be obtained through imaginative chord voicing. Alan Walker draws attention to the quiet middle section of Chopin's Scherzo No. 1.
"Finally Home" debuted at No. 21 on the Hot Christian Songs chart for the chart week of January 17, 2009. [7] The song moved to No. 19 in its second chart week, [8] and to No. 16 in its third week. [9] "Finally Home" jumped to No. 8 in its sixth chart week, [10] and advanced to No. 5 in its thirteenth chart week, a spot it held for two weeks. [11]
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.
The terms quartal and quintal imply a contrast, either compositional or perceptual, with traditional harmonic constructions based on thirds: listeners familiar with music of the common practice period are guided by tonalities constructed with familiar elements: the chords that make up major and minor scales, all in turn built from major and minor thirds.
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