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The blues scale is often used in popular songs like Harold Arlen's "Blues in the Night", blues ballads like "Since I Fell for You" and "Please Send Me Someone to Love", and even in orchestral works such as George Gershwin's "Rhapsody in Blue" and "Concerto in F". Gershwin's second "Prelude" for solo piano is an interesting example of a ...
On the Cash Box Top 100 chart, which measured the US performance of single sides individually, "For You Blue" peaked at number 71. The song is a twelve-bar blues in the country blues style. When writing "For You Blue", Harrison was partly influenced by his stay with Bob Dylan and the Band in Woodstock over November–December
Melvin Endsley (January 30, 1934 – August 16, 2004) was a musician, singer, and songwriter best known for writing the song "Singing the Blues", along with over 400 songs recorded by hundreds of artists since 1956. [1]
Dominant 7th chords are generally used throughout a blues progression. The addition of dominant 7th chords as well as the inclusion of other types of 7th chords (i.e. minor and diminished 7ths) are often used just before a change, and more changes can be added. A more complicated example might look like this, where "7" indicates a seventh chord:
Everton fans sing a version of this song; "I've never felt more like singing the blues, when Everton win and Liverpool lose, oh Everton you've got me singing the blues." Also this song is commonly used at Manchester City football matches, where the fans sing: "Never felt more like singing the blues, City win, United lose." This song has been ...
Bass range: The bass is the lowest male voice. The bass voice has the lowest tessitura of all the voices. The typical bass range lies between E2 (the second E below middle C) to E4 (the E above middle C). In the lower and upper extremes of the bass voice, some basses can sing from C2 (two octaves below middle C) to G4 (the G above middle C). [3]
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The Genius Sings the Blues is an album by Ray Charles, released in October 1961 on Atlantic Records. [5] The album was his last release for Atlantic, compiling twelve blues songs from various sessions during his tenure for the label. The album showcases Charles's stylistic development with a combination of piano blues, jazz, and southern R&B.