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"It's the Same Old Song" was recorded by the Four Tops for the Motown label. [1] It was released in 1965 as the second single from their second album.Written and produced by Motown's main production team Holland–Dozier–Holland, the song is today one of The Tops' signatures, and was reportedly created—from initial concept to commercial release—in 24 hours.
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
For example, there are a number of songs in E major which use the ♭ III chord (e.g., a G major chord used in an E major song), the ♭ VII chord (e.g., a D major chord used in an E major song) and the ♭ VI chord (e.g., a C major chord used in an E major song). All of these chords are "borrowed" from the key of E minor.
"Same Old Song and Dance" is a song by American hard rock band Aerosmith, written by singer Steven Tyler and guitarist Joe Perry. Released on March 19, 1974, as the lead single from their second studio album, Get Your Wings, [1] it has remained a staple on rock radio [citation needed] and in the band's setlists.
In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs are based on chord progressions. "A chord substitution occurs when a chord is replaced by another that ...
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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"It's the Same Old Shillelagh" is an Irish novelty song written by Pat White. Its subject is a young Irish-American who inherits his father's shillelagh . The composer himself recorded this song on May 25, 1927 for Victor Records (No. 20760), [ 1 ] and the record was distributed through the Yorkville Phonograph Shop in New York City.