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At the meeting on 10 November 2007, Chávez repeatedly interrupted Zapatero to call Zapatero's predecessor, José María Aznar, a "fascist" and "less human than snakes", [1] and accuse Aznar of having supported a failed coup d'état aimed at removing Chávez from power.
"Porque te vas" is a romantic ballad [17] that incorporates elements of funk, disco and pop music, featuring a predominant use of the saxophone. [18] Critic Julián Molero of Lafonoteca described the track's instrumentation as "full of self-confidence with almost mocking interventions of the brasses and the crash of the drums releasing unexpected blows". [19]
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Here, the first chord—stretching two octaves from D 2 to D 4 —is a diatonic (so-called white-note) cluster, indicated by the natural sign below the staff. The second is a pentatonic (so-called black-note) cluster, indicated by the flat sign; a sharp sign would be required if the notes showing the limit of the cluster were spelled as sharps.
Piano tuning became a profession around the beginning of the 1800s, as the "pianoforte" became mainstream. [6] Previously musicians owned harpsichords, which were much easier to tune, and which the musicians generally tuned themselves.
"Por Qué Te Tengo Que Olvidar?" (English: Why Do I Have to Forget You?) is a ballad written by Luis Ángel, co-written by Edwin Apolinaris and Tommy Villarini, produced by Rudy Pérez, co-produced by Ricardo Eddy Martínez and performed by Puerto Rican-American singer-songwriter José Feliciano.
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.
(The chord progression of the passamezzo antico is identical to the romanesca, except for the opening chord, which is i instead of III). [3] A famous example of a romanesca is the refrain of "Greensleeves" (whose verses follow the progression of the passamezzo antico, of which the romanesca is an alteration) Play ⓘ.
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