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"Double Life" is a single by the American rock band the Cars from their second album Candy-O. Written by Ric Ocasek , the song was almost left off the album. The song was released as the third single from the album in 1979, but did not chart.
"Double Life" is a song written, produced, and performed by American singer-songwriter Pharrell Williams. Originally previewed on Williams's YouTube channel on May 8, the song was released by Columbia Records as a single for the soundtrack of the film Despicable Me 4 on June 14, 2024. An orchestral song, it was met with generally positive reviews.
A Double Life, a French-West German drama film; Double Life, a 2002 album by Värttinä "Double Life", a song by Styx from Kilroy Was Here "Double Life" (The Cars song), a 1979 single "Double Life" (Pharrell Williams song), a 2024 diss track "Double Life" (PlayStation ad), a 1999 television advertisement; Double Life (Invisible Detective), the ...
The bassist (electric bass or double bass) uses the chord symbols to help improvise a bass line that outlines the chords, often by emphasizing the root and other key scale tones (third, fifth, and in a jazz context, the seventh). The lead instruments, such as a saxophonist or lead guitarist, use the chord chart to guide their improvised solos.
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Social Security is the U.S. government's biggest program; as of June 30, 2024, about 67.9 million people, or one in five Americans, collected Social Security benefits. This year, we're seeing a...
These chords stand in the same relationship to one another (in the relative minor key) as do the three major chords, so that they may be viewed as the first (i), fourth (iv) and fifth (v) degrees of the relative minor key. For example, the relative minor of C major is A minor, and in the key of A minor, the i, iv and v chords are A minor, D ...
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.