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In tracks like "I'm So Lonesome I Could Cry", Williams expressed intense, personal emotions with country's traditional plainspoken directness, a then-revolutionary approach that has come to define the genre through the works of subsequent artists from George Jones and Willie Nelson to Gram Parsons and Dwight Yoakam.
I'm Gonna Break Your Heart (I'm Gonna) Sing, Sing, Sing; I'm Not Coming Home Anymore; I'm Praying For the Day (co-written with Pee Wee King) I'm So Happy I Found You (lyrics by Williams, recorded by Lucinda Williams for The Lost Notebooks of Hank Williams) I'm So Lonesome I Could Cry; I'm Sorry for You, My Friend
Scott Joplin's "The Entertainer" is written in C major. Many musicians have pointed out that every musical key conjures up specific feelings. [5] This idea is further explored in a radio program called The Signature Series. American popular songwriter Bob Dylan claimed the key of C major to "be the key of strength, but also the key of regret". [6]
The bassist (electric bass or double bass) uses the chord symbols to help improvise a bass line that outlines the chords, often by emphasizing the root and other key scale tones (third, fifth, and in a jazz context, the seventh). The lead instruments, such as a saxophonist or lead guitarist, use the chord chart to guide their improvised solos.
[8] Williams recorded the song on August 30, 1949, at Herzog Studio in Cincinnati, Ohio, (the same session that produced the B-side "I'm So Lonesome I Could Cry"). He is backed by members of the Pleasant Valley Boys — Zeke Turner (lead guitar), Jerry Byrd (steel guitar), and Louis Innis (rhythm guitar) — as well as Tommy Jackson (fiddle ...
I could form eight chords by having C-E-G right on the group. I played the chords by moving the track according to the chord that I needed." Of basing a discofied arrangement on the template for Webb's arrangement on the Harris version Moroder would recall: "To be honest, it was a very difficult song to [arrange], especially the brass, but we ...
Lute Suite in C minor, BWV 997; Cello Suite No. 5, BWV 1011; The Musical Offering, BWV 1079; Partita No. 2, BWV 826; Ludwig van Beethoven (See Beethoven and C minor) Piano Sonata No. 5; Piano Sonata No. 8 (Pathétique) Piano Concerto No. 3; Coriolan Overture; Symphony No. 5; Choral Fantasy; Piano Sonata No. 32; Johannes Brahms. Symphony No. 1 ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11 ).
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