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Dream chord on G Play ⓘ.. The dream chord is a chord that is used prominently in the works of La Monte Young.It is made up of the pitches G-C-C♯-D. [2] [3] The chord is prominently featured in Young's compositions for Brass (1957), Trio for Strings (1958), and The Four Dreams of China (1962).
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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 ...
In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).
In a tweet from July 2024, Drew Daniel of electronic music duo Matmos described a fictional music genre he encountered in a dream entitled "hit em". Recounted to him by a nondescript woman in the dream, the genre is a type of electronic music "with super crunched out sounds" in a 5/4 time signature with a tempo of 212 beats per minute.
In addition to piano, Taylor was always interested in ballet and dance. His mother, who died while he was young, was a dancer and played the piano and violin. Taylor once said: "I try to imitate on the piano the leaps in space a dancer makes." [42] He collaborated with dancer Dianne McIntyre from the mid 1970s to the early 1980s. [43]
The work is scored for a prepared piano and a chamber orchestra and was written using the gamut technique Cage developed in String Quartet in Four Parts (1950). Independently created sonorities (single notes, chords, aggregates) are arranged into rectangular charts; the music is composed by tracing geometric patterns on them. [21]
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