...intro: G C D G C D G C D Am D G D C (CHORUS) There she goes G D C There she goes again G D C Racing through my brain Am And I just can't contain D This feeling that remains G D C There she goes G D C There she goes again G D C Pulsing through my veins Am And I just can't contain D This feeling that remains Chorus G D C There she goes G D C There she goes again G D D She calls my name G D D She pulls my train G D C No one else could heal my pain Am And I just can't contain D This feeling that remains ...
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...Im Not The Only One F A Dm Bb You and me we made a vow F A Dm Bb For better or for worse F A Dm Bb I can't believe you let me down F C F But the proof is in the way it hurts F A Dm Bb For months on end I've had my doubts F A Dm Bb Denying every tear F A Dm Bb I wish this would be over now F C F But I know that I still need you here [Chorus] F A Dm Bb You say I'm crazy F A Dm Bb Cause you don't think I know what you've done F A Dm Bb But when you call me baby F C F I know I'm not the only one [Verse 2] F A Dm Bb You've been so unavailable F A Dm Bb ...
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...Im Not The Only One F A Dm Bb You and me we made a vow F A Dm Bb For better or for worse F A Dm Bb I can't believe you let me down F C F But the proof is in the way it hurts F A Dm Bb For months on end I've had my doubts F A Dm Bb Denying every tear F A Dm Bb I wish this would be over now F C F But I know that I still need you here [Chorus] F A Dm Bb You say I'm crazy F A Dm Bb Cause you don't think I know what you've done F A Dm Bb But when you call me baby F C F I know I'm not the only one [Verse 2] F A Dm Bb You've been so unavailable F A Dm Bb ...
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...8A i) To sing or play from memory the lowest part of a short three-part phrase played twice by the examiner. The key-chord and starting note will first be sounded and named, and the pulse indicated. A second attempt will be allowed if necessary. (The lowest part, to be sung or played, is bracketed_________.) ii) To identify the cadence at the end of a further (following) phrase, played twice by the examiner, as perfect, imperfect, interrupted or plagal. The key-chord will first be sounded. iii) To identify up to four chords in the above cadential progression, played twice by the examiner, as tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position), or submediant (root position). Candidates may alternatively use the equivalent roman notation. The key-chord will first be sounded. [The chords to be identified are marked*.] - Perfect (5—1) [Subdominant, Supertonic root, Dominant root, Tonic root] - Imperfect (—5) [Tonic root, Supertonic root, Subdominant, Dominant root] - Interrupted (—6) [Subdominant, Tonic root, Dominant root, Submediant] - Plagal Tonic (I) [root position, first/second inversions] Supertonic (ii) [root position/first inversion] Subdominant (IV) [root position] Dominant (V) [root position, first/second inversions] Dominant seventh [root position] Submediant [root position] 8C Identify...
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...I'm waiting in my cold cell, when the bell begins to chime. Reflecting on my past life and it doesn't have much time. 'Cause at 5 o'clock they take me to the Gallows Pole, The sands of time for me are running low... Running low--ooohhh... When the priest comes to read me the last rites, I take a look through the bars at the last sights, Of a world that has gone very wrong for me. Can it be that there's some sort of error? Hard to stop the surmounting terror. Is this really the end, not some crazy dream? Somebody please tell me that I'm dreaming, It's not easy to stop from screaming, But words escape me when I try to speak. Tears flow but why am I crying? After all I'm not afraid of dying. Don't I believe that there never is an end? As the guards march me out to the courtyard, Somebody cries from a cell "God be with you". If there's a God then why does he let me go? As I walk my life drifts before me. Though the end is near I'm not sorry. Catch my soul, it's willing to fly away. Mark my words believe my soul lives on. Don't worry now that I have gone. I've gone beyond to see the truth. When you know that your time is close at hand, Maybe then you'll begin to understand Life down here is just a strange illusion. Yeah, Yeah, Yeah...Hallowed be Thy name Yeah, Yeah, Yeah...Hallowed be Thy name...
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...Lyrics & Chords Home (http://www.metal-head.org) Lyrics (http://www.metal-head.org/lyrics/) Search Here Chords (http://www.metal-head.org/chords/) Piano Chords (http://www.metal-head.org/piano-chords/) OPM Chords (http://www.metal-head.org/opm-chords/) Guitar chords charts (http://www.metal-head.org/guitar-chords-charts/) Top lyrics & chords (http://www.metal-head.org/top-posts/) Lyrics & Chords (http://www.metal-head.org) » David Guetta Chords (http://www.metal-head.org/david-guetta-chords/) » Titanium chords – David Guetta V5 Titanium chords What are the symbols above the lyrics? How to play them? Learn here David Guetta Chords (http://www.metal-head.org/guitar-chords-charts/) Here you have all the numeric guitar chords (http://www.metalhead.org/all-the-guitar-chords-numeric/) Intro: D A Bm Bm D A Bm Bm D. D. D. D. You shoot me down, but I get up... A. A. A. A. Bm. Bm. Bm. Bm. Bm Bm Bm Bm • Just One Last Time Acoustic Chords (http://www.metal-head.org/chords/justone-last-time-acoustic-chords-bydavid-guetta-125138) • When Love Takes Over Chords Feat You shout it out, bUt I can't hear a word you say I'm talking loud, not saying much I'm critisized, but all your bullets ricochet Kelly Rowland V5 (http://www.metalhead.org/chords/when-love-takes-overchords-by-david-guetta-feat-kellyrowland-v5-125137) • She Wolf Falling To Pieces Acoustic Chorus (http://www.metal-head.org/tag/chorus/): Em. Bm. Em. Bm. Em. D A. Bm D A A I'm bullet-proof, nothing...
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...sonatas and examining its form and chord structure. The Exposition of the sonata begins in measure one and ends in measure sixty-one at the cadence of the closing theme. Inside this exposition lie multiple themes, the first theme stretching from measure one to measure twenty-two, where the second theme group begins. The first theme has three phrases in it: measures one through ten, eleven through fifteen, and sixteen through twenty-one, all of which stay in the key of B flat major. Though they are all in the same key, the phrases make up a contrasting period because measures one through ten are obviously different than the two following phrases, which are similar. Moving on to the second theme which is the key of F major, the dominant, we can see that the phrases are contrasting as well because they do not begin similarly and have different chord structure. An interesting composition technique is extending phrases through various means such as sequences or repetition, both used by Haydn in the exposition. Measures seven through ten, twenty-nine through thirty, forty-one through forty-two and forty-eight through fifty-five are all examples of repetition. We can see sequences in measures seventeen through twenty and twenty-two through twenty-seven. Lastly in measures fifty-six though sixty-one Haydn uses a cadential extension to lengthen the closing phrase. To focus more on chord structure we will focus on Haydn’s use of augmented sixth chords and secondary dominants to enrich...
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...A | 0 0 2 2 2 0 | A | 0 3 x 1 4 0 | A | 1 3 3 2 1 1 | A | x 0 2 2 2 0 | A | x 1 4 x x 2 | A#5 | x 0 x 2 2 1 | A#5 | x 0 3 2 2 1 | A/Ab | x 0 2 1 2 0 | A/B | 0 0 2 4 2 0 | A/B | x 0 3 2 0 0 | A/D | x x 0 1 2 1 | A/D | x x 0 2 1 1 | A/D | x x 0 2 2 0 | A/D | x 0 0 2 2 0 | A/G | 3 x 2 2 2 0 | A/G | x 0 2 0 2 0 | A/G | x 0 2 2 2 3 | A/Gb | x x 2 2 2 2 | A/Gb | x 0 4 2 2 0 | A/Gb | 2 x 2 2 2 0 | A/Gb | 0 x 4 2 2 0 | A/Gb | 0 0 2 2 2 2 | A5 | 1 3 3 x x 1 | A5 | x 0 2 2 x 0 | A5 | 1 3 3 x x 0 | A6 | x x 2 2 2 2 | A6 | x 0 4 2 2 0 | A6 | 2 x 2 2 2 0 | A6 | 0 x 4 2 2 0 | A6 | 0 0 2 2 2 2 | A6/7 | 0 0 2 0 2 2 | A6/7sus | 3 3 2 0 1 0 | A6/7sus | x 0 2 0 3 2 | A7 | x 0 2 2 2 3 | A7 | x 0 2 0 2 0 | A7 | 3 x 2 2 2 0 | A7(#5) | 1 0 3 0 2 1 | A7sus4 | x 0 0 0 x 0 | A7sus4 | 3 x 0 0 1 0 | A7sus4 | x 0 2 2 3 3 | A7sus4 | x 0 2 0 3 3 | A7sus4 | x 0 2 0 3 0 | Aadd9 | 0 0 2 4 2 0 | Aadd9 | x 0 2 1 0 0 | Aaug/D | x x 0 2 2 1 | Aaug/G | 1 0 3 0 2 1 | Ab | 1 3 3 2 1 1 | Ab#5 | x 3 2 1 1 0 | Ab/A | x x 1 2 1 4 | Ab/F | x 1 3 1 2 1 | Ab/F | x x 1 1 1 1 | Ab/Gb | x x 1 1 1 2 | Ab/Gb | x x 1 2 1 1 | Ab5 | 1 3 3 x x 1 | Ab6 | x x 1 1 1 1 | Ab6 | x 1 3 1 2 1 | Ab7 | x x 1 1 1 2 | Ab7 | x x 1 2 1 1 | Abdim/E | x x 0 1 0 0 | Abdim/E | x 2 0 1 3 0 | Abdim/E | 0 2 2 1 3 0 | Abdim/E | 0 2 0 1 0 0 | Abdim/Eb | x x 0 4 4 4 | Abdim/F | x 2 0 1 0 1 | Abdim/F | x x 0 1 0 1 | Abdim/F | x x...
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...D ALIVE, ALIVE, ALIVE FOREVER MORE A D MY JESUS IS ALIVE, ALIVE FOREVER MORE D ALIVE, ALIVE, ALIVE FOREVER MORE A D D7 MY JESUS IS ALIVE FOREVER MORE G D SING ALLELUIA, SING ALLELUIA A D MY JESUS IS ALIVE FOREVER MORE G D SING ALLELUIA, SING ALLELUIA A D MY JESUS IS ALIVE FOREVER MORE ---------------------------------- D BINABAGO MO AKO ARAW-ARAW G A BINABAGO MO AKO ARAW-ARAW D BINABAGO MO AKO ARAW-ARAW G A BINABAGO MO AKO ARAW-ARAW G A NGAYON, BUKAS AT KAYLANMAN G G A ANG PAG-IBIG NYA... AY LAGING SAPAT... D Bm Em A LAB LAB LAB TAYO'Y MAGMAHALAN D Bm Em A LAB LAB LAB TAYO'Y MAGKAMAYAN D Bm Em A D LAB LAB LAB TAYO'Y MAG-AWITAN NGAYON ---------------------------------- D FOR THE LORD IS MY TOWER G AND HE GIVES ME THE POWER D A TO TEAR DOWN THE WORKS OF THE ENEMY D IN A DIFFICULT HOUR G HE WILL CRUSH AND DEVOUR D AND BRING THE POWER OF DARKNESS E UNDERNEATH MY FEET ---------------------------------- D A D (AKO) ANG KAWAL NI HESUS (IKAW)(TAYO) ANG KAWAL NI HESUS A D LUMALABAN SA MALI A DI PAHUHULI, KAHIT AKO’Y KUNIN D TAPAKAN MO SILA, DURUGIN MO SILA A AT KEMBOTAN MO PA D HUWAG TITIGILAN, MAGPAKAILANMAN D A WALA NA HAHANAP HANAPIN PA PANGINOON A D WALA NA HAHANAP HANAPIN PA PANGINOON G D WALA NA HAHANAP HANAPIN PA PANGINOON ...
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... In 1991, Tramo and Bharucha concluded that musical chords that are traditionally thought of as sounding consonant were able to be distinguished from dissonant ones when processed in the right hemisphere in two split-brain patients. The same test presented to the patients’ left hemispheres were not able to replicate those results. The left hemisphere was either unable to distinguish between them or could only do so at a significantly reduced capacity (Prete, et al, 2015). It was observed in a study by Passynkova, Neubauer and Scheich in 2007 that a consonant sound is likely to activate areas throughout the entire right hemisphere of the brain while dissonance activates a smaller area that is more localized in the anterior region of the left hemisphere. Not only were different hemispheres responding to the chords, but structures activated within each hemisphere differed depending on the nature of the chords presented (Prete, et al, 2015). One split-brain patient that had received a full callosotomy was presented with 24 chords, played with a piano sound through headphones for 1,330 ms. The presentation was made to both ears simultaneously or to one ear as noise was presented to the opposite ear. As a control, the test was also administered to 10 participants with normal hearing and no previous instances of neurological irregularities. The 24 chords included one major chord, one minor chord and one augmented chord presented in various keys as the consonant portion of the...
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...the important starting of the piece. The next 4 bars are new and very contrasting to the last previous opening music with a mysterious feeling or like we are waiting for something to happen again. This is achieved by the dramatic change in dynamics from fortissimo to piano. Also the instruments are different with only the bassoon and string section being used creating a homophonic texture but it is also quite antiphonal between the violin 1 and bassoon/string section. The rhythm is the same but the stepwise movement contrasts to the previous octave leaps and imply the feeling of apprehension. This is exaggerated by the fact that we now know it is in D minor (by the f naturals in the bass line). Throughout these bars Haydn uses inverted chords (I b – V7D) instead of...
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...same pedal note of A. notes are long- sounds serious & important. | Once the motifs are introduced the parts imitate each other. The parts overlap, so they are sometimes singing in canon. The last four bars of the piece are marked Adagio – they’re much slower. It finished with a plagal cadence (chord V to chord 1). This makes the piece sound like it’s finished. Why does my heart feel so bad – Moby A1 0.00 | Piano only, establishing main chord sequence Am, Am, Em, Em, G, G, D, D. | A2 0.19 | Adds male voice sample “why does my heart______ feel so bad____ why does my soul___ feel so bad__” The sample is unedited. Electronic ghostings from 1953 gospel choir. LOOPED. | A3 0.39 | Adds percussion and countermelody. The left hand of piano is doubled by low synth | A4 0.59 | Adds bass and string synth. These fill out the structure- long sustained chords | A5 1.19 | More syncopated version of piano chords. New piano rhythm decorated with sus2 and sus4 chords (chords use notes 1 3 5 but sus chords use notes 2 or 4) | Bx1 1.38 | Female voice takes over from male with a repeated 2 bar phrase “These____ open doors These____ open doors”NEW CHORD SEQUENCE: C, C, Am, Am.Ambiguous tonality of Cmajor or Aminor | By1 1.57 | Voice continues with 2 bar phrase, with...
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...What I Hear When I Listen to Billie Holiday’s “Billie’s Blues” Tyler Brady Intro to Music: Term Paper Dr. Burns In the 19th century, a very prominent genre and musical form emerged from the Deep South of America; often defined as a repetitive and poetic music structure derived from jazz, blues music became an influential role in the astounding American identity. On the basis of originality and artistry, Billie Holiday is noted as one of the most influential jazz and blues singers. Throughout a dark life of poverty, drugs and adversity that arose from sexism and racism, Billie Holiday turned to her passion of music and singing. One of “Lady Day’s” most well-known pieces was recorded in 1936 and was titled “Billie’s Blues” This piece is structured as a 12-bar blues piece with a short introduction and six choruses. Throughout this blues song, there is a repetitive and invigorating harmonic pattern present. “Billie’s Blue’s” reflects a very laid back style through Holiday’s signature “lazy” style using many jazz embellishments such as blue notes; moreover, these melodies sung by Billie Holiday, as well as the two improvised solos performed by Bunny Berigan and Arty Shaw, are extremely artistic and original. In despite of a poverty stricken life filled with drug abuse and adversity, Billie Holiday was able to establish herself as a prominent blues and jazz singer; she was able to display this in “Billie’s Blues,” a 12-bar blues piece, with exceptional use of harmony...
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...Marshall Law 11 March 2016 Project #1: To Kill a Mockingbird (1962) Music in films before 1970 had a distinct purpose. In the film “To Kill a Mockingbird” the music highlights important material in the film. This music was utilized to enhance the emotion of the film. The musical score was under the direction of Elmer Bernstein, an outstanding musician responsible for many major film scores. This film was produced in 1962, just about the time where avant-garde music was well in effect. Elmer Bernstein implements these new techniques of dissonant harmonious, wide intervals and complex rhythms in his themes throughout the film. There are three points where he utilizes music in this film. He highlights characters, highlights transitions and highlights emotional scenes. Music is not played from beginning to end, as the music is accents key moments. There is no use of source music in this film, allowing all the music to be underscore. To Kill a Mockingbird (1962) is based off of the popular novel with the same name. The film follows the endeavors of two children, Scout and Jem, as well as their father, Atticus. Circulating the time of the Great Depression, this film emphasizes racial inequality. As the film develops, the plot reveals an important case dealing with the allegations of an African American man raping a white women. Tom Robinson, the man accused, is found guilty by the jury, only to suicide by cop. The man responsible for the allegations attacks Scout and Jem...
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...strain. The entire form is repeated to produce a 32 bar complete form which consists of A - B - A - C + A - B - A - C=32 bars. KEY: 1) Am. A natural minor is the best starting place with no sharps or flats. Note: Although the V7 (E7) appears in the key of A Harmonic Minor, the fact of the major 7th degree (G#) does not agree with the use of i7 (Am7) in bar 1. For this, and numerous other shared "tonality" purposes and reasons we will establish the key of A Natural minor. The introduction of the first V7 (Dom 7th) chord (E7) in bar 2 is derived from the secondary dominant of A major tonality (more on this as we progress). 2) The song moves in A minor and for a short moment in bars TONALITY: The major melodic devise Gershwin employed was Pentatonic Minor: A-C-D-E-G. This is what gives the song that "Bluesy" or folk sound In many charts of Summertime we see today there have been added either "rhythm" chords (for a rhythm section) or substitution chords. My main focus will be on the harmonic structure underlining the melody. Pick-Up Measure: E7#5 = The 2 melody notes of E - C - begin the pentatonic...
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