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Fade-out or fade, a gradual decrease in sound volume; Fade (lighting) or fade-out, a gradual decrease in intensity of a stage lighting source; Dissolve (filmmaking) or fade-out, a cinematographic technique causing the picture to darken and disappear
Repeat and fade is a musical direction used in sheet music when more than one repeat of the last few measures or so of a piece is desired with a fade-out (like something traveling into the distance and disappearing) as the manner in which to end the music. It originated as a sound effect made possible by the volume controls on sound recording ...
Possibly the earliest example of a fade-out ending can be heard in Joseph Haydn's Symphony No. 45, nicknamed the "Farewell" Symphony on account of the fade-out ending.The symphony which was written in 1772 used this device as a way of courteously asking Haydn's patron Prince Nikolaus Esterházy, to whom the symphony was dedicated, to allow the musicians to return home after a longer than ...
The B♭ note ends at 1:37, the beginning of the chorus. [77] The strings are attached to Yorke's vocals throughout the song. [80] By the end of the song at 5:23, all instruments join together to produce a high-pitched note ranging from A to F ♯. [81] Greenwood's ondes Martenot parts appear low in the mix because of the string sounds. [50]
The song's bridge begins with a "dreamy" keyboard section, which leads into the first trumpet solo. [4] According to Ramone, the urgency and sexiness of the trumpet part is enhanced by the ascending and descending line played on bass guitar beneath the solo. [4] The second solo comes at the end of the song and goes into the fade out. [5]
Fade Out – Fade In is a musical with a book and lyrics by Betty Comden and Adolph Green and music by Jule Styne. The story involves the movie industry in the 1930s. It starred Carol Burnett, returning to the Broadway stage for the first time in four years.
This chord progression forms most of the song except the final line of the verses and chorus, in which it changes to B♭m–F–G♭–F. Throughout the song, Anastacia uses a gospel-like voice [5] and uses various ad-libs in the second and third choruses. The song ends on a fade-out.
After two verses and two choruses, the song closes with a nearly two-minute string-laden instrumental coda. The guitars, bass, and drums gradually fade out, leaving only the repeated violin and cello motif. Bell sings lead vocals on the song, something rare among the band's early material.
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