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Kitts describes Doug Clifford's drums as "pounding," Stu Cook's bass guitar as "thumping" and Tom Fogerty's rhythm guitar chords as "slashing." [3] Music writer Steven L. Hamelman praises Clifford's drumming on the song as "a brilliant groove, never wavering." [3] The song popularized the term "chooglin', which may have been invented by Fogerty."
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The suspended fourth chord is often played inadvertently, or as an adornment, by barring an additional string from a power chord shape (e.g., E5 chord, playing the second fret of the G string with the same finger barring strings A and D); making it an easy and common extension in the context of power chords.
C – Am – Dm – G 7. This chord progression instructs the performer to play, in sequence, a C major triad, an A minor chord, a D minor chord, and a G dominant seventh chord. In a jazz context, players have the freedom to add sevenths, ninths, and higher extensions to the chord. In some pop, rock and folk genres, triads are generally ...
Minor major seventh chord. A minor major seventh chord, or minor/major seventh chord (also known as the Hitchcock Chord) is a seventh chord composed of a root, minor third, perfect fifth, and major seventh (1, ♭ 3, 5, and 7). It can be viewed as a minor triad with an additional major seventh. When using popular-music symbols, it is denoted by ...
The ' 50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, [1] [2] the doo-wop progression [3]: 204 and the "ice cream changes" [4]) is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V. For example, in C major: C–Am ...
Common chords are frequently used in modulations, in a type of modulation known as common chord modulation or diatonic pivot chord modulation. It moves from the original key to the destination key (usually a closely related key) by way of a chord both keys share. For example, G major and D major have 4 chords in common: G, Bm, D, Em.
This is enharmonically equivalent to G ♭ –A ♭ –C, an incomplete dominant seventh A ♭ 7, missing its fifth), which is a tritone substitute that resolves to G. Its inversion, A ♭ –C–F ♯, is the Italian sixth chord that resolves to G. Classical harmonic theory would notate the tritone substitute as an augmented sixth chord on ♭ 2.