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"The Lost Chord" is a song composed by Arthur Sullivan in 1877 at the bedside of his brother Fred during Fred's last illness. The manuscript is dated 13 January 1877; Fred Sullivan died five days later. The lyric was written as a poem by Adelaide Anne Procter called "A Lost Chord", published in 1860 in The English Woman's Journal. [1]
"Yang Hilang" was released as Anggun's final rock single in Indonesia and became another hit on the charts, peaking inside the Top 10 in the Indonesian Airplay Chart. The song's lyrics can be interpreted to her music career which was "lost" for three years before coming back with her debut international album, Snow on the Sahara (1997).
Isang Himala (lit. ' A miracle ') is a 2024 Philippine musical drama film co-produced and directed by Pepe Diokno from a script he co-wrote with Ricky Lee.It is based on a 2018 theatrical play of the same name, itself an adaptation of the 1982 film Himala.
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 ...
Lontara Bilang-bilang is a cipher of the Lontara script, currently used for Buginese poetry.This script uses the Eastern Arabic numerals-inspired letterform to substitute the Lontara script, as a way to hide it to the Dutch at the time. [1]
In Search of the Lost Chord was released on 26 July 1968. It peaked at number 5 in the UK Albums Chart [ 38 ] and reached number 23 on the Billboard 200 . [ 39 ] Of the two singles from the album, "Ride My See-Saw" reached no. 42 in the UK Singles Chart and no. 61 on the US Billboard chart, while "Voices in the Sky" reached no. 27 in the UK but ...
IV-V-I-VI chord progression in C major: 4: Major I–V–vi–IV: I–V–vi–IV chord progression in C: 4: Major I–IV– ♭ VII–IV: I–IV– ♭ VII–IV. 3: Mix. ii–V–I progression: ii–V–I: 3: Major ii–V–I with tritone substitution (♭ II7 instead of V7) ii– ♭ II –I: 3: Major ii-V-I with ♭ III + as dominant ...
In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F ♯ played with a C 7 chord would be considered a chord tone if the chord were analyzed as C 7(♯ 11).