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A good example of my signature Mellotron swoops are in Ray Thomas' song, 'Legend of a Mind'. I used the speed control on my 'Tron to create the swoops, and we would take advantage of the stereo effects to make the Mellotron sound and the movement come from one side to the other side, i.e., left-right, and right-left.
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The composer's brother, Fred Sullivan In 1877, Arthur Sullivan was already Britain's foremost composer, having produced such critically praised pieces as his Irish Symphony, his Overture di Ballo, many hymns and songs, such as "Onward, Christian Soldiers", and the popular short operas Cox and Box and Trial by Jury.
"What I've Been Looking For" was written and produced by Andy Dodd and Adam Watts. [3] [4] According to its music sheet, it was composed using common time in the key of A major, with a tempo of 142 beats per minute. [3] It is a teen pop song built on the chord progression A–D–A/C♯–Bm7–E, and it was written in the common verse–chorus ...
"Mysterious Ways" is played in a 4/4 time signature at a tempo of 99 beats per minute. [11] The introduction to the song, which features the song's well-known guitar hook, consists of "one seventh-fret barre chord, a couple of rhythmic scratches and two notes" played in a key of B ♭. [12]
A closely related key can be defined as one that has many common chords. A relative major or minor key has all of its chords in common; a dominant or subdominant key has four in common. Less closely related keys have two or fewer chords in common. For example, C major and A minor have 7 common chords while C major and F ♯ major have 0 common ...
The song was covered by British singer Karen Ramirez and released as her second single from her album Distant Dreams in 1998, with the shorter title of "Looking for Love". This version peaked at number eight on the UK Singles Chart in June 1998 and topped the US Hot Dance Club Play chart in 2001. It additionally peaked at number five in Hungary ...
Percussion instruments with indeterminate pitch will not show a key signature, and timpani parts are sometimes written without a key signature (early timpani parts were sometimes notated with the high drum as "C" and the low drum a fourth lower as "G", with actual pitches indicated at the beginning of the music, e.g., "timpani in D–A").