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Frederico "Fredo" Corleone is a fictional character in Mario Puzo's 1969 novel The Godfather. Fredo is portrayed by American actor John Cazale in the Francis Ford Coppola 1972 film adaptation and in the 1974 sequel, The Godfather Part II. Fredo is the second son of the Mafia don Vito Corleone (Marlon Brando and Robert De Niro).
Johnny Ola is a fictional character in The Godfather Part II. He is portrayed by Dominic Chianese. [11] Johnny Ola is a mobster and right-hand man to Jewish mobster Hyman Roth. [12] He is an enforcer and "made man" of one of Five Families of New York City. Ola is Sicilian but speaks American English with a New York accent.
Roth instructs Ola to befriend Michael's brother Fredo, who provides Ola (and Roth) information about Michael that enables them to make an attempt on his life. Michael quickly realizes that Roth ordered the hit. Remembering his father's advice to "keep your friends close, but your enemies closer", he maintains a good business relationship with ...
Dominic Chianese (/ k iː ə ˈ n eɪ s iː /; kee-ə-NAY-see; born February 24, 1931) is an American actor, singer, and musician.He is best known for his roles as Junior Soprano on the HBO series The Sopranos (1999–2007), Johnny Ola in The Godfather Part II (1974), and Leander Whitlock in Boardwalk Empire (2011–2013).
The character Johnny Ola, portrayed by Dominic Chianese, in the film The Godfather Part II (1974) is based on Alo. [ citation needed ] The character Victor Tellegio , portrayed by Robert De Niro , in the film American Hustle (2013) is based on Alo as well.
At this time, Fredo had been outcast from the family due to his involvement with Hyman Roth and Johnny Ola. Connie convinced Michael to accept him again, but this was only a front, and he ordered Fredo's death soon afterwards. Connie seemed to accept the story that Fredo had drowned out on Lake Tahoe.
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was first applied to jazz by ...
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