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[7] [24] Nicholas Pegg and Doggett compare the song's style, structure, lyrics and arrangement to those of the Bee Gees' 1967 single "New York Mining Disaster 1941", which has similar minor chords and chorus. Hutchinson later stated: "'Space Oddity' was a Bee Gees type song.
However, he extensively cites verifiable sources with the British lyrics set to it, beginning in 1773. [1] The main focus of the Grattan Flood article is tracing the origins of yet another song set to the same melody in 1838 by Rev. Samuel Gilman in celebration of the 200th anniversary of the founding of Harvard University.
The ground bass opening "Dido's Lament" forms a chromatic stepwise descent over the interval of a perfect fourth, the chromatic fourth, which is repeated eleven times throughout the aria, thus structuring the piece in the form of a passacaglia .
"Same God" is a pop-centric piano ballad, [9] which is composed in the key of Dâ™ with a tempo of 72.5 beats per minute, and a musical time signature of 4 4. [10] The lyrics of the song describe "the consistent and unchanging nature of God's wisdom, power, goodness and generosity toward His children." [11]
Kitchie Nadal is the self-titled debut studio album by Filipino singer-songwriter Kitchie Nadal, released in the Philippines in 2004 by Warner Music and 12Stone Records. [3] [4] The album's second single, "Huwag na Huwag Mong Sasabihin", became the most-played OPM single in 2004 and later earned her numerous awards. [5]
You Can Play These Songs with Chords [7] "This Temporary Life" 2004 Future Soundtrack for America "Tiny Vessels" 2003 Transatlanticism [5] "Title and Registration" † 2003 Transatlanticism [5] "Title Track" 2000 We Have the Facts and We're Voting Yes [2] "To the Ground" 2019 The Blue EP [11] "Tomorrow" 1997 You Can Play These Songs with Chords [7]
Yields: 4 servings. Prep Time: 5 mins. Total Time: 5 mins. Ingredients. 8 oz. citrus vodka. 4 oz. cranberry juice cocktail. 3 oz. fresh lime juice. 3 oz. triple sec ...
The progression is also used entirely with minor chords[i-v-vii-iv (g#, d#, f#, c#)] in the middle section of Chopin's etude op. 10 no. 12. However, using the same chord type (major or minor) on all four chords causes it to feel more like a sequence of descending fourths than a bona fide chord progression.