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Already in the early 20th century, Abraham Zevi Idelsohn recorded hundreds of different tunes used for Lekha Dodi. [8]Among some Sephardic congregations, the hymn is sometimes chanted to an ancient Moorish melody, which is known to be much older than the text of Lekha Dodi.
The most basic three-chord progressions of Western harmony have only major chords. In each key, three chords are designated with the Roman numerals (of musical notation): The tonic (I), the subdominant (IV), and the dominant (V). While the chords of each three-chord progression are numbered (I, IV, and V), they appear in other orders.
the root note (e.g. C ♯) the chord quality (e.g. minor or lowercase m, or the symbols o or + for diminished and augmented chords, respectively; chord quality is usually omitted for major chords) whether the chord is a triad, seventh chord, or an extended chord (e.g. Δ 7) any altered notes (e.g. sharp five, or ♯ 5) any added tones (e.g. add2)
In the 18th century, ninth and eleventh chords were theorized as downward extensions of seventh chords, according to theories of supposition. [12]In 1722, Jean-Philippe Rameau first proposed the concept that ninth and eleventh chords are built from seventh chords by (the composer) placing a "supposed" bass one or two thirds below the fundamental bass or actual root of the chord. [13]
"We Three (My Echo, My Shadow and Me)" is a ballad published in 1939 by Nelson Cogane (né Nelson Cogane Fonarow; 1902–1985), Sammy Mysels and Dick Robertson. [1] It was a hit song in 1940 for both The Ink Spots on Decca and Frank Sinatra with the Tommy Dorsey Orchestra on RCA Victor , both versions reaching No. 3 in Billboard in December.
The song was written in the key of B minor, [3] but the recording sounds one semitone lower. The song was performed at Live Aid as an encore, with additional instruments and arrangements in the last part; changes were also present in the vocal line. A month before their Live Aid appearance, "Is This the World We Created…?"
Honestly, this song flowed out. We were in that room for about 10-12 hours, so, for me, this writing session is actually one of the defining writing moments of my life because more than it was a tool of ministry for someone else, I was singing that to myself and I think this song, as I believe it will change people’s lives, it has changed mine.
The song, which showcases the guitar playing of Davey Johnstone, with lyrics by Bernie Taupin and music by John, is written in the key of G mixolydian alternating with C mixolydian on the chorus. It is one of John's harder-rocking songs (similar to " Grow Some Funk of Your Own " and " The Bitch Is Back "), with a sound echoing bands such as the ...
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