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The term baritone was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice. For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization.
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 ...
The highest voice is the first voice or voice 1. The second-highest voice is voice 2, etc. This nomenclature doesn't provide a term for more than one voice on the same pitch. A dropped voicing lowers one or more voices by an octave relative to the default state. Dropping the first voice is undefined—a drop-1 voicing would still have all ...
Such composers as Rodgers and Hart (in their 1934 song "Blue Moon"), and Hoagy Carmichael and Frank Loesser (in their 1938 "Heart and Soul") used a I–vi–ii–V-loop chord progression in those hit songs; composers of doo-wop songs varied this slightly but significantly to the chord progression I–vi–IV–V, so influential that it is sometimes referred to as the '50s progression.
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:
2. “At Last” by Etta James (1960) Chances are, you’ve heard this song at least once in your lifetime. The minute Etta James croons “At last…” you’re swaying to the music and ...
'Sunshine of Your Love', Cream's best-known song, is a culmination of the British adaptation of blues into rock and also the direct precursor of Led Zeppelin and heavy metal, where this type of blues-based motivic riff and harmonic motions like A–C–G or E–G–A (as in "Whole Lotta Love") serve as the basis for a seemingly endless number ...
Endsley had further success with the song "Love Me to Pieces", which was recorded by Jill Corey, Janis Martin, and Janet Eden in 1957. Robbins and Guy Mitchell had hits with "Knee Deep in the Blues" in 1957 and 1991. Andy Williams recorded "I Like Your Kind of Love" in 1957, while The Browns covered "I'd Just Be Fool Enough" in 1966. [4]