Search results
Results from the WOW.Com Content Network
In the review for AllMusic, Lee Bloom said "Jordan's style is perhaps the most subdued of the first generation bebop pianists; his touch is gentle, his chords are simply constructed, and his preference for medium tempos is evident. Though not the most flashy of beboppers, Jordan is quite an excellent composer. ...
The chord progression over the verses includes a descending bass of A–G–F ♯ –F (I– ♭ VII–VI– ♭ VI) over an A-minor chord, leading to F-major on the F bass note. According to musicologist Dominic Pedler, the I– ♭ VII–VI– ♭ VI progression represents a hybrid of the Aeolian and Dorian modes. [ 32 ]
Dear Friends and Gentle Hearts is the fifth studio album by Oakland punk band American Steel, released on Fat Wreck Chords on July 21, 2009. [3] The title references a phrase found written on a scrap of paper found in Stephen Foster's pocket after his death.
Get breaking entertainment news and the latest celebrity stories from AOL. All the latest buzz in the world of movies and TV can be found here.
Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
[13] Stylus Magazine was pleased with Stefani's performance on the song, stating that "she lets her voice ride gently on top of the melody, pushed along by the gentle steel drums in the background." [ 14 ] PopMatters commented that "No Doubt isn't afraid of working with new ideas" but that the dancehall of "Underneath It All" was unsuccessful ...
Last quarter, United spent roughly 19% less on aircraft fuel costs than in the same period the prior year. Ines Ferre is a senior business reporter for Yahoo Finance. Follow her on X at @ines_ferre .
In the 18th century, ninth and eleventh chords were theorized as downward extensions of seventh chords, according to theories of supposition. [12]In 1722, Jean-Philippe Rameau first proposed the concept that ninth and eleventh chords are built from seventh chords by (the composer) placing a "supposed" bass one or two thirds below the fundamental bass or actual root of the chord. [13]