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In the key of B ♭, the numbers would be B ♭ =1, C=2, D=3, E ♭ =4, F=5, G=6, A=7. The key may be specified at the top of the written chord chart or given orally by the bandleader, record producer, or lead singer. The numbers do not change when transposing the composition into another key. They are relative to the new Tonic.
For example, in the key of C major, the chord D minor seventh can be written as "2− 7", "2m 7", or "ii 7". "The musicians in Nashville use the Nashville Number System almost exclusively for conveying a song's structure and arrangement in the recording studio." [3] In the key of C, C=1, D=2, E=3, and so on for all seven notes in the key.
A common chord progression with these chords is I-♭ VII–IV-I, which also can be played as I-I-♭ VII–IV or ♭ VII–IV-I-I. The minor-third step from a minor key up to the relative major encouraged ascending scale progressions, particularly based on an ascending pentatonic scale. Typical of the type is the sequence i–III–IV (or iv ...
Using an even number such as 6, implies that only that one extra note has been added to the base triad e.g. 1, 3, 5, 6. Remember that this is theory, so in practice they do not have to be played in that ascending order e.g. 5, 1, 6, 3. Also, to resolve the clash between the third and eleventh, one of them may be deleted or separated by an octave.
For tiny arcs, the chord is to the arc angle in degrees as π is to 3, or more precisely, the ratio can be made as close as desired to π / 3 ≈ 1.047 197 55 by making θ small enough. Thus, for the arc of 1 / 2 °, the chord length is slightly more than the arc angle in degrees. As the arc increases, the ratio of the chord to ...
Derek always did a wonderful job. He was innovative and talented. He and Tony Clarke were adept at driving the ship. We were all very committed to our music and it was an adventure. Lots of fun and laughs as well. Everyone worked very hard. We had creative freedom, and we were fortunate to be allowed to try new things. It was our musical ...
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The song was written in the key of B minor, [3] but the recording sounds one semitone lower. The song was performed at Live Aid as an encore, with additional instruments and arrangements in the last part; changes were also present in the vocal line. A month before their Live Aid appearance, "Is This the World We Created…?"