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Aqualung is the fourth studio album by the English rock band Jethro Tull; it was released in March 1971 by Chrysalis Records.Though it is generally regarded as a concept album, featuring a central theme of "the distinction between religion and God", the band said that there was no intention to make a concept album, and that only a few songs have a unifying theme. [4]
The Aqualung character is also mentioned in "Cross-Eyed Mary", the next song on the album. In a 2015 interview, Martin Barre recounted a situation with Led Zeppelin while recording the song's solo: [7] We'd locked ourselves away in the studio—us doing Aqualung, and them working on Led Zeppelin IV—and I hadn't seen Jimmy Page at all. Finally ...
[1] A chromatic mediant relationship defined conservatively is a relationship between two sections and/or chords whose roots are related by a major third or minor third, and contain one common tone (thereby sharing the same quality, i.e. major or minor). For example, in the key of C major the diatonic mediant and submediant are E minor and A ...
Mozart and Haydn wrote most of their masses in C major. [3] Gounod (in a review of Sibelius' Third Symphony) said that "only God composes in C major". Six of his own masses are written in C. [4] Of Franz Schubert's two symphonies in the key, the first is nicknamed the "Little C major" and the second the "Great C major".
In the key of C major, these would be: D minor, E minor, F major, G major, A minor, and C minor. Despite being three sharps or flats away from the original key in the circle of fifths, parallel keys are also considered as closely related keys as the tonal center is the same, and this makes this key have an affinity with the original key.
Tonic and tonic counter parallel in C major: CM and Em chords Play ⓘ. Tonic and tonic counter parallel in C minor: Cm and A ♭ M chords Play ⓘ. Contrast chord example Play ⓘ: C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in ...
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 ...
However, Johann Sebastian Bach chose C-sharp major for Prelude and Fugue No. 3 in both books of The Well-Tempered Clavier. In Hungarian Rhapsody No. 6, Franz Liszt takes the unusual step of changing the key from D-flat major to C-sharp major near the start of the piece, and then back again to B-flat minor.