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'Move It on Over' hits right home, 'cause half of the people he was singing to were in the doghouse with the ol' lady." [8] "Move It on Over" was Williams' first major hit, reaching #4 on the Billboard Most Played Juke Box Folk Records chart and got him a write up in The Alabama Journal. The revenue generated by the song was the first serious ...
The term "chord chart" can also describe a plain ASCII text, digital representation of a lyric sheet where chord symbols are placed above the syllables of the lyrics where the performer should change chords. [6] Continuing with the Amazing Grace example, a "chords over lyrics" version of the chord chart could be represented as follows:
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Move It On Over may refer to: "Move It On Over" (song) , a 1947 song by Hank Williams Move It On Over (album) , a 1978 album by George Thorogood & The Destroyers, named after the above song
Move It On Over is the second studio album by American blues rock band George Thorogood and the Destroyers. It was released in 1978 by the label Rounder Records. The album peaked at No. 33 on the Billboard 200 chart, [1] and was on the chart for 47 weeks. [2] The album contains all cover material.
A lead sheet or fake sheet is a form of musical notation that specifies the essential elements of a popular song: the melody, lyrics and harmony.The melody is written in modern Western music notation, the lyric is written as text below the staff and the harmony is specified with chord symbols above the staff.
The I–V–vi–IV progression is a common chord progression popular across several music genres. It uses the I, V, vi, and IV chords of the diatonic scale. For example, in the key of C major, this progression would be C–G–Am–F. [1] Rotations include: I–V–vi–IV: C–G–Am–F; V–vi–IV–I: G–Am–F–C
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 ...
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