O exorcismo de anneliese michel livr

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And a woman, a woman, tells me, what do you mean I'm a woman now? But how many weapons you've held, you know to become who you are... that matters so much you won't tell me... Unfortunately, but you remember the green water and we rock the white bottom of what color your eyes, if you ask me, I do not answer ... about the Black Sea... about the black sea about the sea ne... You were as clear and transparent as I was.... about the Black Sea... about the black sea about the sea ne... You were as clear and transparent as I was.... The bikes are abandoned over the lawn and then the two of us lying in the shade of the flower in the mouth can serve you know, more cheerful everything seems, and suddenly that silence between us and that strange kind of your flower falls out of your mouth and then oh no, stop please hand ... Where were you the one you ever did? And a woman, a woman, tell me what she wants to say I'm a woman now? I don't know what sure smile that you have I don't know who you are, I don't know who you scare me with now, ... Unfortunately, you remember the big waves and us, the spray and your laughter that is left at the bottom of your eyes flame extinguished or lit about the black sea ... about the black sea about the sea ne... You were as clear and transparent as I was.... about the Black Sea... about the black sea about the sea ne... You were as clear and transparent as I was.... No, no, no, no, no, no, no. The sun rises slowly and then, the light spreads around us shadows and the ghosts of the night trees and shrubs still in the color of the eyes of the woman is still full of love ... The Song of the Sun / Also for You is the first single released in November 1971 by the newly created independent label Number One, founded by singer-songwriters along with the ubiquitous Mogol. It almost immediately became the most famous Italian song of the 70s and a favorite for the festive moments to sing in chorus, accompanied by one guitar (and three light chords to perform) and evoke the transition from a happy childhood to adult complexity, and above all, the new role that a woman has won in a decade has just passed, with an irresistible but veiled crescendo of melancholy and vain regret (but, in fact, that makes this song really a thing). The festive moment is so typical to inspire unrivalled cartoonist Andrea Pazienza to the table above, an ironic and affectionate tribute timeless great singer-songwriter. He also tried to offer this song, translated and sung in English under the name The Sun Song, to the international market, almost like a pass, but the Anglo-Saxons, tetragons and nationalists did not understand. To play this song often visitors ask us to musically notate this song. Normally on this site we do not offer them. We make an exception for this song so well known and so suitable for playing and singing all along. Guitar Chords If what you are looking for is just guitar accompaniment, the information needed to play is actually very little, and the reputation of a particularly simple song is confirmed. The accompaniment to the song consists actually of only three chords, plus one that are repeated two by two in each bar (time is the simplest and most common, in 4/4): Major (LA-DO-MI) MI Major (MI-SOL-SI) RE Major (RE-FA-LA) MI Major (MI-SOL-SI) Enough to choose the tabula you prefer for these 3/1 chords that should be within reach of anyone who knows a little about the instrument and play them while singing. Using line/key notation, the three main chords can be performed as 0-0-2-2-2-2-0 (LA zgt; MI-LA-DO), 0-2-2-2-1-0-0 (MI-S-MI-SOL). Where the first number on the left points to the sixth line (the heaviest) and from here go down, and the figure points to the key. The turns are then used for the first two agreements. We then bring back the lyrics of the song with a point at which to play 3/1 chords. (THE) I DON'T HE (MI) I DON'T (KING) I DON'T HE (MI) I'm NOT (THE) I don't (KING) I don't HE (MI) L.A. Blondes MIbraids their eyes az're'zurri, and then MI (LA) your cal'MI'zette (RE)redMI (LA) and anthem MI cence on RE gote your MI (LA) two to MIMIrance even more REredMI LA dark can RE where we MI MI MI MI MI MI MI MI MI MI echo RE of your MI no, oh no, LA you make me MI'cendo pa're-ura. Where have you (MI) been than you've ever done? (MI) (LA) A (MI) woman, RE woman (MI) tell me what she wants, MIdir I RE woman or MI never. But as much as you have LA arms, you know to become what matters, so much you don't tell me unfortunately. (THE) I'm NOT a hew But you're rereading the waters of REgreen and MIus (LA) cliffs, MI white REbottomMIdi that coMIlore are re your MI your MI your LA if you're not going to laugh at me. MI (LA)O sea MI black, or sea RE black, or sea MIne... LAYou were CHMIZIRO and transpa-RENTE, like MI-me (LAO sea) or sea REblack, or sea MIne... (LA) You were that MI-Iroro and transpare-rente like MIme. On YouTube you can still find a lot of guitar tutorials in which you can Illustrated the technique of performing this song, even for beginners. Piano score If you want to play a song with a piano or any other keyboard instrument, with your right hand you can easily perform melodic lines accompanying and supporting singing. There are many points for this song, sometimes very simplistic and sometimes with different options in transcription. We can't insert a full piano score on the site, but let's give a complete example of the first two verses, showing the recommended fingers to facilitate the performance and the suggestion for instrumental introduction. This is our transcription with MuseScore, not a copy of some score found online, but the score of this song is copyrighted by Acqua Azzurra Srl, and you still can't publish anymore. However, the theme is very repetitive and from this initial offer you can get the rest. If necessary, please email us. To accompany, i.e. agreements on the left side, we propose to use revolts of the above-mentioned fundamental agreements. Thus, by moving only one or no more than two finger positions, and using only fingers 5-3-1, you can play four chords consecutively with minimal hand shift. Obviously, if it's easier to play 4 chords in the main form (see list above), that's fine. The chords then become: LA Major (LA-DO-MI) MI Major 2 (SOL-SI-MI) RE Major 3 (LA-RE-FA) MI Major 2 (SOL-SI-MI) For effective introduction you can repeat 3 times in the first 4 introductory bars, without singing, chords that will then accompany the whole song. Your long blond hair and baby blue bright eyes never fades the blush of childhood on your blue cheek Days hide-and-seek Secret places that we organized to be what you felt but couldn't see the sandy footprints as you sheepishly fled Oh no now summer is gone we're older Where have you done so far? Are you a woman, a woman who tells me what you mean you're finally a woman? How many weapons were around you? Have they changed you in the past? So what doesn't tell me you're moving too fast, remember throwing you into white waves? Green stones where the water flows for free? What color are your eyes spotted in the light? I will never ask you to ever tell me about the sad old ocean sad old ocean jaded by the sea you were, and the innocence in me about the sad old ocean sad old ocean of jaded sea you were, and the innocence in me bikes We left abandoned on top of the hill lying - together under the trees Flowers page yourbook scrap fill so happy that the summer wind is an awkward silence that you seem to be afraid of Fall as I approach Oh no, don't hold me back not to raise your hand where you've been, what have you done so far? You're a woman, a woman who tells me what you mean you're finally a woman? How many weapons were around you? Have they changed you in the past? So what doesn't tell me you're moving too fast, can you remember the waves and the summer sky? A spray from surfing in the sea? What light flickers deep in your eyes? Is the flames still burning? I can't see o sad old ocean sad old ocean sad old ocean jaded sea you were, as well as the innocent old ocean in me O sad old ocean sad old ocean jaded by the sea you were, and innocence in me When the bright rays of the morning sun burst into the night Early Day breaks over us with the clear warm light of shadows and ghosts of the dark turn into trees and the truth once again rejects the lies And love becomes that shines back in your eyes but what does this song really mean? Apparently, it would seem to be one of the many songs dedicated to regret that once in a life season, which is childhood, before the dawn of adolescence. But why should the main character be so sorry to discover that the little girl with whom he innocently played in a dark basement, became an attractive and well-tuned young woman? Is this a retrograde fanatic who perceives a woman only as an angelic virgin, which can be touched only after the consecration of marriage? Did Lucio Battisti and Mogol write a moralist song that regrets the good old days when women arrived innocent and oblivious to everything before wedding night (assuming it was ever so)? I mean an old-fashioned moralist song like Who Jumps into Loretta Goggy's ditch? None of it. He wouldn't have had the timeless success he had had had he not caused much more. The key is right in the last verses and in the title. The sun rises imperiously, and that no one can stop. Which is certainly a metaphor for a new woman who stands up and regains her place in the world. Not a negative image. Even if it's scary. In fact, the theme of this song, as well as many others, written by Battisti with the complicity of Mogol is precisely the revolution of the costume that overwhelms the Italian (and Western) man in the 60s, with an unstoppable acceleration from 1965. Until the beginning of the decade, women were mostly non-working, housewives who depended on their husband and on life, and if they worked, they did not have access to all jobs. Very rare women doctors, women lawyers, non-existent female judges or engineers, none of them is a higher part of society and very few women in political life. In high school they had to wear a black apron until maturity, while the boys went quiet in plainclothes, were only allowed to jet-set actresses such as Kathryn Spaak or Audrey Hepburn. And all this was confirmed by the family law left in the 1930s by the code Rocco, with adultery punishable only by wives and medieval crime of honor, manifested worldwide by Pietro Hermi's masterpiece Divorce of the Italian. Suddenly, in just three years, everything changes, the world is young and nothing will be the same as before. In the skirt disappears and comes a miniskirt all the more short, boots, eccentric dresses, trousers, apron disappears in the first weeks of the school year 1968-69 of all high schools in Italy, a few more months and even housewives curl up in pants and miniskirts. And these symbols of the costume will be accompanied by freedom of choice and imperious demand for various laws, starting with divorce, which will also arrive in Italy in 4 years. The Italian man is overwhelmed and divided between those who try antiimmigration resistance, as they did and are trying to do, we think in vain, decades later the men of Islamic countries, and those who are fascinated by this new world of free and full of opportunity. As long as those who arrive in total and may be happy to surrender as heroes of songs about succumbing to a man like Tony Renis My Place and especially the famous My Soul country cousins. Battisti impersonates a great and sensitive artist halfway there, in an ambiguous area between regret and charm, and on this ambivalence he built his entire staging of the first period, with the main character divided between two female characters, or two sides of the same woman, one capitulation and the other victory and the dominant one we can call Linda Lucia and Anna-Francesca. Look: Lucio Battisti and women. © Music and Memory 2005 - Review 2013 NEW CONTACT HOME Original text by Mogul (Julio Rapeletti) is reproduced for research and music criticism (see DISCLAIMER) / Reproduction of notes not allowed / Image copyright is implied. The use of tablatures and agreements for public executions is also reported for educational and research purposes only, only if the scores are not available commercially and the rights of the authors concerned are retained. Andrea Pazienza's work is reproduced in part, in relation to the text and for the sole purpose of contributing to a wider knowledge of his work. Work.

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