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"Rise Above This" is a song by South African rock band Seether. It is the second single from the band's album Finding Beauty in Negative Spaces.It is the sixth track on the album and became the band's second consecutive number-one song on the U.S. Modern Rock chart.
A lead sheet or fake sheet is a form of musical notation that specifies the essential elements of a popular song: the melody, lyrics and harmony. The melody is written in modern Western music notation, the lyric is written as text below the staff and the harmony is specified with chord symbols above the staff. The lead sheet does not describe ...
Finding Beauty in Negative Spaces is the fourth studio album by South African rock band Seether. The album was released in South Africa and Switzerland on 19 October 2007, and released worldwide on 23 October 2007. It is the first album by the band without lead guitarist Pat Callahan.
Musipedia, on the other hand, can identify pieces of music that contain a given melody. Shazam finds exactly the recording that contains a given snippet, but no other recordings of the same piece. Musipedia is included in some library catalogs on music-finding, which include other papers and online resources. [3]
"Broken" is a song by South African rock band Seether, first appearing on their debut album, Disclaimer (2002). It was reworked and recorded again in 2004, this time featuring American singer Amy Lee, the lead singer of Evanescence and then-girlfriend of Seether vocalist Shaun Morgan.
The song was described as "despondent" [2] and "beautifully tormented", [6] containing lyrics such as "It's so dangerous, all this blamelessness / and I feel like I've lost all the good I've known." [ 7 ] The song was described as " alternative metal anthem" [ 2 ] and a slow burn building of a " rock jam".
"Breakdown" is a song by South African rock band Seether. It is the third track and the third single from the band's third album, Finding Beauty in Negative Spaces. Shaun Morgan has stated that the song is about his former girlfriend Amy Lee, [1] but other sources reference a more recent relationship.
Often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. Similar progressions abound in African popular music . They may be varied by the addition of sevenths (or other scale degrees ) to any chord or by substitution of the relative minor of the IV chord to ...