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Well for me that I have Jesus, O how tightly I hold him that he might refresh my heart, when I'm sick and sad. Jesus I have, who loves me and gives himself to me, ah, therefore I will not leave Jesus, even when my heart breaks. —from BWV 147, chorale movement no. 6 Jesus remains my joy, my heart's consolation and sap, Jesus fends off all ...
Though Mozart touched on various minor keys in his symphonies, G minor is the only minor key he used as a main key for his numbered symphonies (No. 25, and the famous No. 40). In the Classical period, symphonies in G minor almost always used four horns, two in G and two in B ♭ alto. [2]
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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.
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 ...
Jesu, nun sei gepreiset (Jesus, now be praised), [1] BWV 41, [a] is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for New Year's Day and first performed it on 1 January 1725. It is based on the hymn of the same name that Johannes Hermann wrote for the same occasion, published in 1591.
Biber uses scordatura primarily to manipulate the violin's tone color as well as allow for otherwise impossible chords on a violin with standard tuning. [3] Through the progression of the sonatas, scordatura presents a number of difficulties to overcome, with the peak of difficulty located in the Sorrowful Mysteries. [4]
Two stanzas from Paul Gerhardt's 1647 hymn "O Welt, sieh hier dein Leben" comment the scene, stanza 3, "Wer hat dich so geschlagen" (Who has you now so stricken), [8] and stanza 4, "Ich, ich und meine Sünden" (I, I and my transgressions), [8] [18] highlighting the personal responsibility of the speaking sinner for the suffering of Jesus.