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C tuning – C-F-A ♯-d ♯-g-c'-f' / C-F-B ♭-e ♭-g-c'-f' Half a step up from standard, used by Eddie Rendini during his time in Cold. C ♯ tuning – C ♯-F ♯-B-e-a-c ♯-f ♯ The whole step up from standard. This tuning was used by Wes Borland with high E-string being lowered to C ♯ (C ♯-F ♯-B-e-a-c ♯-c ♯) on the first two ...
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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 ...
When a musical key or key signature is referred to in a language other than English, that language may use the usual notation used in English (namely the letters A to G, along with translations of the words sharp, flat, major and minor in that language): languages which use the English system include Irish, Welsh, Hindi, Japanese (based on katakana in iroha order), Korean (based on hangul in ...
Using a high C rather than the high G of the overtone-series, the open-C tuning C-C-G-C-E-C. was used by Mick Ralphs for the songs "Can't Get Enough" and "Movin' On" on Bad Company's debut album. The lowest and second lowest C's differ by an octave; even when the lowest C-string is not struck, its sympathetic resonance improves the sound. [9]
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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.