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Roger Dean Miller Sr. (January 2, 1936 – October 25, 1992) was an American singer-songwriter, widely known for his honky-tonk-influenced novelty songs and his chart-topping country hits "King of the Road", "Dang Me", and "England Swings".
"Dang Me" is a song by American country music artist Roger Miller, and 1964's Grammy Award winner for Best Country & Western Song. It was Miller's first chart-topping country hit and first Top Ten pop music hit, [2] whose "jazzy instrumental section" helped make it "the quintessential example of Miller's lighthearted humor, which brought him many more hits."
By July 1964, Roger Miller's monster hit "Dang Me" had run its course in radio, and "Chug-a-Lug" was hitting hard and fast. Concerned about offending their core country audience, Miller and his producer Jerry Kennedy had initially resisted releasing "Chug-a-Lug" as a single, and an alternate version of the song was produced with the word "wine" edited out.
Roger and Out is the debut studio album of country music artist Roger Miller, which was released under the Smash Records label in 1964. The second release did not chart but the first reached #3 on country album charts and #37 on the Billboard 200, and was ultimately certified as Gold by the RIAA.
The book has since been published in a case-size edition by William Bay, Mel's son and has spawned a series of similar books like the Encyclopedia of Guitar Chord Progressions (first published in 1977 [3]), Encyclopedia of Guitar Chord Inversions, Mel Bay's Deluxe Guitar Scale Book, Encyclopedia of Jazz Guitar Runs, Fills, Licks & Lines, and ...
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
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 standard tuning, without the top E string attached. Alternative variants are easy from this tuning, but because several chords inherently omit the lowest string, it may leave some chords relatively thin or incomplete with the top string missing (the D chord, for instance, must be fretted 5-4-3-2-3 to include F#, the tone a major third above D).