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"Ukulele Lesson" 78 rpm disc label. Breen is credited with convincing publishers to include ukulele chords on their sheet music. The Tin Pan Alley publishers hired her to arrange the chords and her name is on hundreds of examples of music from the 1920s on. [6] Her name appears as a music arranger on more pieces than any other individual. [7]
"Do You Believe in Magic" is a song by the American folk-rock band the Lovin' Spoonful. Written by John Sebastian, it was issued as the band's debut single in July 1965. The single peaked at number nine on the Billboard Hot 100. It later served as the title track of the band's debut album, issued that November.
Do You Believe in Magic is the debut studio album by the folk-rock band the Lovin' Spoonful. It was released in the United States on October 23, 1965, on the Kama Sutra label. Release in the United Kingdom followed in March 1966.
The Lovin' Spoonful is an American folk-rock band formed in Greenwich Village, New York City, in 1964.The band were among the most popular groups in the United States for a short period in the mid-1960s and their music and image influenced many of the contemporary rock acts of their era.
Lyndie Greenwood stars as a publicist named April in the Hallmark movie "Magic in Mistletoe." (Not coincidentally, "April" is the actual first name of the movie's writer, Skyy Blair of Memphis.)
Jim Beloff is a graduate of Hampshire College where he focused on musical theater. After working on 1600 Pennsylvania Avenue, a short lived Broadway musical by Alan Jay Lerner and Leonard Bernstein, Beloff composed several children's musicals that were produced in New York City.
Magic chord (as played in The Well-Tuned Piano). [ 3 ] The Magic Chord is a chord and installation (1984) created by La Monte Young , consisting of the pitches E, F, A, B ♭ , D, E, G, and A, in ascending order and used in works including his The Well-Tuned Piano and Chronos Kristalla (1990). [ 1 ]
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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