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"The Only Exception" is a song by American rock band Paramore. It was released by Fueled by Ramen in February 2010 as the third single from the band's third studio album, Brand New Eyes (2009). The song was written by band members Hayley Williams and Josh Farro ; Paramore is also credited as being co-producers to the song.
A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is commonly used in popular music and in jazz to capture the essential elements of song without specifying the details of how the song should be arranged or performed.
A C major chord, the major triad built on the note C (C–E–G), is referred to as the one chord of that key and notated in Roman numerals as I. The same C major chord can be found in other scales: it forms chord III in the key of A minor (A→B→C) and chord IV in the key of G major (G→A→B→C). This numbering indicates the chords's ...
"Creeque Alley" is an autobiographical hit single written by John Phillips and Michelle Phillips of the Mamas and the Papas in late 1966, narrating the story of how the group was formed, and its early years. The third song on the album Deliver, it peaked at number 5 on the US Billboard pop singles chart the week of Memorial Day 1967,
Singles Club is an EP released by the American rock band Paramore. [1] The songs were released as promotional singles between October and December 2011, culminating in the release of a box set containing the three constituent songs plus "Monster", which was recorded during the same sessions. [2]
In Baroque music, G major was regarded as the "key of benediction". [1] Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of 6 8 chain rhythms", according to Alfred Einstein, [2] although Bach also used the key for some 4
Étude Op. 10, No. 5 is known as the "Black Key Étude" as its right-hand part is entirely on black keys, except for one note. Leichtentritt states that the melodic character resulting from the use of black keys is "based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint."
Such chords also appeared to some extent in baroque keyboard music, such as the 3rd movement theme in Bach's Italian Concerto. But at that time such a chord often appeared only in one clef at a time, (or one hand on the keyboard) and did not form the independent phrases found more in later music.