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"I Wish" is a song by American singer Stevie Wonder. It was released in late 1976 as the lead single from his eighteenth album, Songs in the Key of Life (1976). Written and produced by Wonder, the song focuses on his childhood from the 1950s into the early 1960s about how he wished he could go back and relive it.
A common type of three-chord song is the simple twelve-bar blues used in blues and rock and roll. Typically, the three chords used are the chords on the tonic, subdominant, and dominant (scale degrees I, IV and V): in the key of C, these would be the C, F and G chords.
Most commonly, power chords (e.g., C–G–C) are expressed using a "5" (e.g., C 5). Power chords are also referred to as fifth chords, indeterminate chords, or neutral chords [citation needed] (not to be confused with the quarter tone neutral chord, a stacking of two neutral thirds, e.g. C–E –G) since they are inherently neither major nor ...
Let’s be honest: Love songs always hit right in the feels. A ballad can transform from a regular song into the soundtrack of your relationship—whether you’re celebrating your 25th ...
Funk emphasizes the groove and rhythm as the key element, so entire funk songs may be based on one chord. Some jazz-funk songs are based on a two-, three-, or four-chord vamp. Some punk and hardcore punk songs use only a few chords. On the other hand, bebop jazz songs may have 32-bar song forms with one or two chord changes every bar.
Scott Joplin's "The Entertainer" is written in C major. Many musicians have pointed out that every musical key conjures up specific feelings. [5] This idea is further explored in a radio program called The Signature Series. American popular songwriter Bob Dylan claimed the key of C major to "be the key of strength, but also the key of regret". [6]
1. “Cheek to Cheek" By Fred Astaire (1935) While we adore Lady Gaga and Tony Bennett's rendition (or even Ella Fitzgerald and Louis Armstrong's), we can't stop playing the original hit.
Taking the main key of measures 1 to 5 as A-flat major, the chords can be considered as vi–ii–V–I–IV in A-flat major. (Fm7 is the sixth degree in A ♭; B ♭ m7 is second degree in A ♭, etc.) Using a delay cycle, D ♭ being the tritone substitution for G7, the last 3 bars of the A section modulates to the key of C major temporarily.