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IV M7 –V 7 –iii 7 –vi chord progression in C. Play ⓘ One potential way to resolve the chord progression using the tonic chord: ii–V 7 –I. Play ⓘ. The Royal Road progression (王道進行, ōdō shinkō), also known as the IV M7 –V 7 –iii 7 –vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō), [1] is a common chord progression within ...
Yat sang ho kau (Chinese: 一生何求; Jyutping: Jat1 sang1 ho4 kau4; pinyin: Yīshēng hé qiú) is a Cantonese-language Hong Kong album by Danny Chan, released by Warner Music (WEA) in June 1989. The title track became one of the top ten songs in the 1989 RTHK Top 10 Gold Songs Awards . [ 1 ]
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the [diatonic] scale can have no tones in common. All other chords [in the diatonic scale] have common tones.
Muara Hati (Estuary of the Heart) is a song by Malaysian artists Siti Nurhaliza and Hafiz Suip, where it was composed entirely as a theme song for an 80-episode Malaysian drama, Adam & Hawa. [1] The song was composed entirely by Manusia Putih, or more commonly known as Adi Sixth Sense a year earlier in 2011.
Rabindranath Thakur FRAS (Bengali: [roˈbindɾonatʰ ˈʈʰakuɾ]; [1] anglicised as Rabindranath Tagore / r ə ˈ b ɪ n d r ə n ɑː t t ə ˈ ɡ ɔːr / ⓘ; 7 May 1861 [2] – 7 August 1941 [3]) was a Bengali polymath who worked as a poet, writer, playwright, composer, philosopher, social reformer, and painter of the Bengal Renaissance.