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You're All I Need is the second studio album by soul musicians Marvin Gaye and Tammi Terrell, released in August 1968 on Motown-subsidiary label Tamla Records.Highlighted by three hit singles written by Nickolas Ashford and Valerie Simpson (who composed two of the four hit songs on the first Gaye/Terrell duets LP, United), You're All I Need was recorded throughout 1966 and 1967 and features ...
"You're All I Need" is a power ballad [2] by American heavy metal band Mötley Crüe. It was released as the third and final single from the band's 1987 album Girls, Girls, Girls. The song peaked at 83 on the Hot 100, and 23 on the UK Singles Chart. Despite the controversy and its lack of chart success, the song is considered one of their best ...
"You're All I Need to Get By" is a song recorded by the American R&B/soul duo Marvin Gaye and Tammi Terrell and released on Motown Records' Tamla label in 1968. It was the basis for the 1995 single " I'll Be There for You/You're All I Need to Get By " from Method Man and Mary J. Blige .
List of musical chords Name Chord on C Sound # of p.c.-Forte # p.c. #s Quality Augmented chord: Play ...
All original tracks produced by RZA US, CD Maxi-Single "I'll Be There For You/You're All I Need To Get By" (Puff Daddy Mix) — 5:08 a "I'll Be There For You/You're All I Need To Get By" (Puff Daddy Instrumental) — 5:04 "I'll Be There For You/You're All I Need To Get By" (Razor Sharp Mix) — 3:53 b
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.
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords. Sometimes the V 7 chord is used instead of V, for greater tension.
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.
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