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"The End" is a song with music by Jimmy Krondes and lyrics by Sid Jacobson. In 1958, the song was released in the United States as a 1958 single by Earl Grant . Grant's single on the Decca label, featured the orchestra of Charles "Bud" Dant ; some pressings of the single were shown with the title " (At) The End (Of A Rainbow) ".
At the end of the rainbow there's happiness And to find it how often I've tried But my life is a race just a wild goose chase And my dreams have all been denied Why have I always been a failure? What can the reason be? I wonder if the world's to blame I wonder if it could be me? Chorus I'm always chasing rainbows Watching clouds drifting by
Download as PDF; Printable version; In other projects ... End of a Rainbow is the debut album by American vocalist and songwriter Patti Austin recorded in 1976 and ...
"Rainbow" is a piano ballad in the key of E-flat major with a slow tempo of approximately 64 beats per minute. Musgraves' vocals range from G 3-E ♭ 5. [2] The song was penned by Musgraves with Shane McAnally and Natalie Hemby six years prior to its release as the closing track on Golden Hour. According to the singer, it began as an ...
Using lead sheet chord names, these chords could be referred to as A minor, D minor, G major and C major. [ 1 ] In music theory , Roman numeral analysis is a type of harmonic analysis in which chords are represented by Roman numerals , which encode the chord's degree and harmonic function within a given musical key .
In 2002, Robin Carmody of Freaky Trigger described the harmonica-led "Rainbow" as "a desperately poignant final aim for a love (or rather, perhaps, a feeling of personal contentment) fading inexorably, desperately looking out to feel it as it dies", concluding that it is "a wonderful song of yearning, and is the perfect farewell to the dying 20 ...
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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]
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