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6 Fugitive Memories (2015), for piano; May Day (2015), for TTBB a cappella choir; Sagittarius (2015), mixed quintet; In the Deep Heart's Core (2017), for piano, fixed audio, and optional projection; Children's Games (2018), for mixed quintet; If You Were Coming in the Fall (2019), for choir; i-sola (2020), for piano; What Remains After the Dust ...
For chords, it was common to just play three or two holes instead (sometimes even just one), especially when the instrument is not of the same key. For example, in the blues progression in G (G G G G7 C C G G D7 D7 G G) it is common to use a C diatonic instrument, and notate the following: G chord (G-B-D): 34i (BD) G7 chord (G-B–D-F): 45i (DF).
"Fall for You" is a song by Secondhand Serenade, the solo project of John Vesely. It was the first single from Secondhand Serenade's second studio album A Twist in My Story (2008).
"Fall for You" is a song by Australian band, The Whitlams. It was released in June 2002. [1] as the lead single from their fifth studio album Torch the Moon. It ...
Fall for You may refer to: "Fall for You" (Secondhand Serenade song), 2008 "Fall for You" (The Whitlams song), 2002; Fall for You, a 2014 album by Leela James ...
Fall for You is the fifth studio album by American recording artist Leela James. It was released by Shesangz Music under exclusive license to BMG Rights Management on July 8, 2014 in the United States. The album debuted and peaked at number 12 on Billboard ' s Top R&B/Hip-Hop Albums chart and at number 69 on the Billboard 200 chart. [1]
From January 2008 to April 2009, if you bought shares in companies when William R. Howell joined the board, and sold them when he left, you would have a -37.8 percent return on your investment, compared to a -41.7 percent return from the S&P 500.
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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