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IV M7 –V 7 –iii 7 –vi chord progression in C. Play ⓘ One potential way to resolve the chord progression using the tonic chord: ii–V 7 –I. Play ⓘ. The Royal Road progression (王道進行, ōdō shinkō), also known as the IV M7 –V 7 –iii 7 –vi progression or koakuma chord progression (小悪魔コード進行, koakuma kōdo shinkō), [1] is a common chord progression within ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
Yat sang ho kau (Chinese: 一生何求; Jyutping: Jat1 sang1 ho4 kau4; pinyin: Yīshēng hé qiú) is a Cantonese-language Hong Kong album by Danny Chan, released by Warner Music (WEA) in June 1989. The title track became one of the top ten songs in the 1989 RTHK Top 10 Gold Songs Awards . [ 1 ]
The practice of adding tones may have led to superimposing chords and tonalities, though added tone chords have most often been used as more intense substitutes for traditional chords. [3] For instance a minor chord that includes a major second factor holds a great deal more dramatic tension due to the very close interval between the major ...
Typically, it refers to a note shared between two chords in a chord progression. According to H.E. Woodruff: Any tone contained in two successive chords is a common tone. Chords written upon two consecutive degrees of the [diatonic] scale can have no tones in common. All other chords [in the diatonic scale] have common tones.
A suspended chord (or sus chord) is a musical chord in which the (major or minor) third is omitted and replaced with a perfect fourth or a major second. [1] The lack of a minor or a major third in the chord creates an open sound , while the dissonance between the fourth and fifth or second and root creates tension.
A block chord is a chord or voicing built directly below the melody either on the strong beats or to create a four-part harmonized melody line in "locked-hands" [1] rhythmic unison with the melody, as opposed to broken chords. This latter style, known as shearing voicing, was popularized by George Shearing, but originated with Phil Moore. [1]
A penei e kau ai She'd place them on her nose Hui: Chorus: E aloha kākou iā ia Now we must all show her reverence E mālama kākou iā tūtū We must all love our dear Tūtū E hoʻano kākou iā ia We must do all to honor her Ko kākou kupuna wahine Our dear Grandma Tūtū A kau mai e ke ahiahi As the hour of eve drew near Hoʻomākaukau e pule