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These 'rumble strips' cause the car tires to play music and then make a singing road," said Lin Zhong, general manager of Beijing Luxin Dacheng landscape architecture company. "Our first idea is to get cars moving at a constant speed. Because only in that way can you enjoy good musical effect. We use it as a reminder of speed limit," added Lin ...
It was written by James Keyes, Claude Feaster, Carl Feaster, Floyd F. McRae, and William Edwards, members of the Chords, and was released in 1954. It is sometimes considered the first doo-wop or rock and roll record to reach the top ten on the pop charts (as opposed to the R&B charts), as it was a top-10 hit that year for both the Chords (who ...
played like a harp (i.e. the notes of the chords are to be played quickly one after another instead of simultaneously); in music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise; arpeggios are frequently used as an accompaniment; see also broken chord articulato Articulate assai
Prepared piano. Use of noise was central to the development of experimental music and avant-garde music in the mid 20th century. Noise was used in important, new ways. In the repertoire of these several decades, noise carries the central role, previously often held by melody and harmony for the musical syntax.
The Chords were one of the early acts to be signed to Cat Records, a subsidiary label of Atlantic Records. [2] Their debut single was a doo-wop version of a Patti Page song "Cross Over the Bridge", and the record label reluctantly allowed a number penned by the Chords on the B-side. [3]
A Terraplane is a classic car, and the song uses car parts as metaphors for sex—"pump your gas", "rev all night", etc. The themes of these songs however differ; "Terraplane Blues" is about infidelity, while "Trampled Under Foot" is about giving in to sexual temptation.
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Sometimes he used diminished chords, other times he used augmented chords. At times, Coltrane might use scales or licks in the passing keys instead of arpeggios. Coltrane employed these harmonic ideas during his "sheets of sound" stage in 1958. At other times, he would simply play rapid patterns of diminished-scales. [10]