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"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.
Songwriter Harlan Howard once said "country music is three chords and the truth." [2] Lou Reed said "One chord is fine. Two chords is pushing it. Three chords and you're into jazz." [3] Reed nevertheless wrote many songs with unique or complex chord progressions himself, such as the material on Berlin.
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.
Rodney Marvin McKuen (/ m ə ˈ k j uː ə n / mə-KEW-ən; né Woolever; April 29, 1933 – January 29, 2015) was an American poet, singer-songwriter, and composer.He was one of the best-selling poets in the United States during the late 1960s.
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]
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The key to the band's new sound on the album was Iommi's distinctive playing style that he developed after an accident at a sheet metal factory where he was working at the age of 17 in which the tips of the middle fingers of his fretting hand were severed. Iommi created a pair of false fingertips using plastic from a dish detergent bottle and ...
Unlike Western notation, Byzantine neumes used since the 10th century were always related to modal steps (same modal degree, one degree lower, two degrees higher, etc.) in relation to such a clef or modal key (modal signatures). Originally this key or the incipit of a common melody was enough to indicate a certain melodic model given within the ...