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"Learning to Fly" is a song by American rock band Tom Petty and the Heartbreakers. It was written in 1991 by Tom Petty and his writing partner Jeff Lynne for the band's eighth studio album, Into the Great Wide Open (1991). The entire song is based on four simple chords, (F, C, A minor, and G).
The implementation of chords using particular tunings is a defining part of the literature on guitar chords, which is omitted in the abstract musical-theory of chords for all instruments. For example, in the guitar (like other stringed instruments but unlike the piano ), open-string notes are not fretted and so require less hand-motion.
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"Jimmy Crack Corn" or "Blue-Tail Fly" is an American song which first became popular during the rise of blackface minstrelsy in the 1840s through performances by the Virginia Minstrels. It regained currency as a folk song in the 1940s at the beginning of the American folk music revival and has since become a popular children's song.
A live version is included on Delicate Sound of Thunder and Pulse. At the end of the final solo in both versions, a guitar lick from the second verse of "Young Lust" ("Oooh, baby set me free") is played. In Ultimate Classic Rock's retrospective ranking of the Pink Floyd catalogue, "Learning To Fly" was ranked 41 of 167 and 2nd-best of post ...
Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D). Baroque guitar standard tuning – a–D–g–b–e
"Easy" is a song by American band Commodores from their fifth studio album, Commodores (1977), released on the Motown label. Group member Lionel Richie wrote "Easy" with the intention of it becoming another crossover hit for the group given the success of a previous single, "Just to Be Close to You", which spent two weeks at number one on the US Billboard Hot Soul Singles chart (now known as ...
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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