Search results
Results from the WOW.Com Content Network
"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) ".
"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 ...
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
"The End" employs the Mixolydian mode in the key of D, [2] [27] and incorporates aspects from Indian music. Krieger used an open guitar tuning, [28] which he had learned from Ravi Shankar's music lessons at the Kinnara School of Music in Los Angeles, [29] [30] to create a sitar or veena sound; this enhances the raga rock mood. [28]
Get AOL Mail for FREE! Manage your email like never before with travel, photo & document views. Personalize your inbox with themes & tabs. You've Got Mail!
A Picardy third, (/ ˈ p ɪ k ər d i /; French: tierce picarde) also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of ...
For premium support please call: 800-290-4726 more ways to reach us
The underlying pulse is provided by the cello and piano: the cello cycles through the same five-note melody (using the pitches C, E, D, F-sharp, and B-flat) and a repeating pattern of 15 durations. The piano part consists of a 17-note rhythmic pattern permuted strictly through 29 chords, as if to give the listener a glimpse of something eternal.