85 Modern Interval Reference Songs Contents
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Common Jazz Chord Symbols Here I Use the More Explicit Abbreviation 'Maj7' for Major Seventh
Common jazz chord symbols Here I use the more explicit abbreviation 'maj7' for major seventh. Other common abbreviations include: C² C²7 CMA7 and CM7. Here I use the abbreviation 'm7' for minor seventh. Other common abbreviations include: C- C-7 Cmi7 and Cmin7. The variations given for Major 6th, Major 7th, Dominant 7th, basic altered dominant and minor 7th chords in the first five systems are essentially interchangeable, in other words, the 'color tones' shown added to these chords (9 and 13 on major and dominant seventh chords, 9, 13 and 11 on minor seventh chords) are commonly added even when not included in a chord symbol. For example, a chord notated Cmaj7 is often played with an added 6th and/or 9th, etc. Note that the 11th is not one of the basic color tones added to major and dominant 7th chords. Only #11 is added to these chords, which implies a different scale (lydian rather than major on maj7, lydian dominant rather than the 'seventh scale' on dominant 7th chords.) Although color tones above the seventh are sometimes added to the m7b5 chord, this chord is shown here without color tones, as it is often played without them, especially when a more basic approach is being taken to the minor ii-V-I. Note that the abbreviations Cmaj9, Cmaj13, C9, C13, Cm9 and Cm13 imply that the seventh is included. Major triad Major 6th chords C C6 C% w ww & w w w Major 7th chords (basic structure: root, 3rd, 5th and 7th of root's major scale) 4 CŒ„Š7 CŒ„Š9 CŒ„Š13 w w w w & w w w Dominant seventh chords (basic structure: root, 3rd, 5th and b7 of root's major scale) 7 C7 C9 C13 w bw bw bw & w w w basic altered dominant 7th chords 10 C7(b9) C7(#5) (aka C7+5 or C+7) C7[äÁ] bbw bw b bw & w # w # w Minor 7 flat 5, aka 'half diminished' fully diminished Minor seventh chords (root, b3, b5, b7). -
Avenged Sevenfold Announced As Second Headliner for Download Festival 2018
UNDER STRICT EMBARGO UNTIL 9AM 08.11.17 #DL2018 8-10 JUNE 2018 AVENGED SEVENFOLD ANNOUNCED AS SECOND HEADLINER FOR DOWNLOAD FESTIVAL 2018 CHART TOPPING HARD ROCK BAND AVENGED SEVENFOLD RETURN TO THE UK’S PREMIER ROCK EVENT TO HEADLINE ALONGSIDE OZZY OSBOURNE Download Festival, the world’s premier rock event, has today announced the second of its three headliners as one of the world’s biggest rock bands Avenged Sevenfold. The three-day festival takes place 8 – 10 June 2018 at the spiritual home of rock in Donington Park, Leicestershire. Tickets available now at downloadfestival.co.uk/tickets. Avenged Sevenfold will return to Download Festival once more, to give a momentous Friday night headline performance that will be talked about for years to come. This announcement comes days after it was revealed that the Prince Of Darkness Ozzy Osbourne will also be headlining. From the genre-defining metal-core album City Of Evil, the hard rock UK No.1 Hail To The King, through to the latest progressive-metal sounds of The Stage; Avenged Sevenfold have an epic history of modern metal classics, a stage show to make Rammstein jealous and a proven track record of smashing anything that comes their way. Download Festival’s Promoter, Andy Copping said: “A real career highlight of mine was giving Avenged Sevenfold their first ever UK festival headline slot, and I’m thrilled to welcome them back. You don’t often see bands like Avenged Sevenfold top the charts, but much like seeing them live, they’re not to be underestimated.” Download Festival is the home of rock music and takes place on the sacred grounds of Donington Park, which have been associated with rock since the eighties. -
Naming a Chord Once You Know the Common Names of the Intervals, the Naming of Chords Is a Little Less Daunting
Naming a Chord Once you know the common names of the intervals, the naming of chords is a little less daunting. Still, there are a few conventions and short-hand terms that many musicians use, that may be confusing at times. A few terms are used throughout the maze of chord names, and it is good to know what they refer to: Major / Minor – a “minor” note is one half step below the “major.” When naming intervals, all but the “perfect” intervals (1,4, 5, 8) are either major or minor. Generally if neither word is used, major is assumed, unless the situation is obvious. However, when used in naming extended chords, the word “minor” usually is reserved to indicate that the third of the triad is flatted. The word “major” is reserved to designate the major seventh interval as opposed to the minor or dominant seventh. It is assumed that the third is major, unless the word “minor” is said, right after the letter name of the chord. Similarly, in a seventh chord, the seventh interval is assumed to be a minor seventh (aka “dominant seventh), unless the word “major” comes right before the word “seventh.” Thus a common “C7” would mean a C major triad with a dominant seventh (CEGBb) While a “Cmaj7” (or CM7) would mean a C major triad with the major seventh interval added (CEGB), And a “Cmin7” (or Cm7) would mean a C minor triad with a dominant seventh interval added (CEbGBb) The dissonant “Cm(M7)” – “C minor major seventh” is fairly uncommon outside of modern jazz: it would mean a C minor triad with the major seventh interval added (CEbGB) Suspended – To suspend a note would mean to raise it up a half step. -
The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely. -
Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
Schedule Quickprint TKRN-FM
Schedule QuickPrint TKRN-FM 1/14/2021 7PM through 1/14/2021 11P s: AirTime s: Runtime Schedule: Description 07:00:00p 00:00 Thursday, January 14, 2021 7PM 07:00:00p 03:30 I DON'T CARE (SUPER CLEAN) / ED SHEERAN & JUSTIN BIEBER 07:03:30p 04:02 OPEN YOUR HEART / MADONNA 07:07:32p 03:01 RAIN ON ME / LADY GAGA WITH ARIANA GRANDE 07:10:33p 03:26 TITANIUM / DAVID GUETTA FEATURING SIA 07:13:59p 03:08 BE LIKE THAT / KANE BROWN WITH SWAE LEE KHALID 07:17:07p 03:27 AS LONG AS YOU LOVE ME / BACKSTREET BOYS 07:20:34p 03:24 GOLDEN / HARRY STYLES 07:23:58p 03:58 NO ONE / ALICIA KEYS 07:28:00p 03:30 STOP-SET 07:34:47p 03:02 MEMORIES / MAROON 5 07:37:49p 03:16 BYE BYE BYE / 'N SYNC 07:41:05p 04:09 LET'S HEAR IT FOR THE BOY / DENIECE WILLIAMS 07:45:14p 03:20 LEVITATING (RAP-LESS EDIT) / DUA LIPA 07:48:34p 03:50 BLANK SPACE / TAYLOR SWIFT 07:52:24p 03:30 STOP-SET 08:00:00p 00:00 Thursday, January 14, 2021 8PM 08:00:00p 03:28 CIRCLES / POST MALONE 08:03:28p 04:21 IF YOU LEAVE / ORCHESTRAL MANOUEUVRES IN THE DARK 08:07:49p 03:31 SOMEONE TO YOU / BANNERS 08:11:20p 03:53 ANGEL / SHAGGY FEATURING RAYVON 08:15:13p 03:21 YOUNGBLOOD / 5 SECONDS OF SUMMER 08:18:34p 03:47 BELIEVE / CHER 08:22:21p 03:00 SAVAGE LOVE / JAWSH 365 X JASON DERULO X BTS 08:25:21p 03:49 WE ARE YOUNG (RADIO EDIT) / FUN. -
A Group-Theoretical Classification of Three-Tone and Four-Tone Harmonic Chords3
A GROUP-THEORETICAL CLASSIFICATION OF THREE-TONE AND FOUR-TONE HARMONIC CHORDS JASON K.C. POLAK Abstract. We classify three-tone and four-tone chords based on subgroups of the symmetric group acting on chords contained within a twelve-tone scale. The actions are inversion, major- minor duality, and augmented-diminished duality. These actions correspond to elements of symmetric groups, and also correspond directly to intuitive concepts in the harmony theory of music. We produce a graph of how these actions relate different seventh chords that suggests a concept of distance in the theory of harmony. Contents 1. Introduction 1 Acknowledgements 2 2. Three-tone harmonic chords 2 3. Four-tone harmonic chords 4 4. The chord graph 6 References 8 References 8 1. Introduction Early on in music theory we learn of the harmonic triads: major, minor, augmented, and diminished. Later on we find out about four-note chords such as seventh chords. We wish to describe a classification of these types of chords using the action of the finite symmetric groups. We represent notes by a number in the set Z/12 = {0, 1, 2,..., 10, 11}. Under this scheme, for example, 0 represents C, 1 represents C♯, 2 represents D, and so on. We consider only pitch classes modulo the octave. arXiv:2007.03134v1 [math.GR] 6 Jul 2020 We describe the sounding of simultaneous notes by an ordered increasing list of integers in Z/12 surrounded by parentheses. For example, a major second interval M2 would be repre- sented by (0, 2), and a major chord would be represented by (0, 4, 7). -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal). -
Owen J. Sloane
Owen J. Sloane Representative Experience With over 45 years of experience, Owen is one of the most respected attorneys in the entertainment industry, representing major artists and leading corporations in entertainment, internet, and music publishing. He regularly handles complex and sophisticated transactions for music industry and other entertainment clients and handles all forms of contract, agreement, and licensing negotiation for clients in the music, film, television, and digital media industries. Over the course of his career, Owen has represented prominent artists such as Elton John, Barry Manilow, Suzanne Vega, Rickie Lee Jones, Steve Winwood, Chris Daughtry, Rob Thomas, Matchbox Twenty, Stevie Nicks, Bonnie Raitt, Kenny Rogers, ABBA, Partner Lindsay Buckingham, Radio Free Virgin, Jane’s Addiction, Joe Cocker, and Academy Award winning cinematographer Haskell Wexler. He has also represented major companies in entertainment such as Playboy, Lorimar, HBO, Coca Cola, and MTM (Mary [email protected] Tyler Moore). Owen has been quoted in The New York Times, Billboard, Forbes, The T 310.855.3200 Los Angeles Times, The Wall Street Journal, and other prominent media outlets as an expert, and has appeared on CNN and ET on television. Selected representative matters include: Practice Focus • Negotiated some of the earliest agreements pertaining to the Internet, ring tones, Entertainment, Media & The Arts video satellite delivery, mobile entertainment, broadband and wireless. • Negotiated some of the music industry’s largest and most innovative recording Education contracts, including the first artist owned label in rock. Yale Law School, J.D., Cum Laude • Serves as an expert witness and litigation consultant on issues such as contracts, Order of the Coif intellectual property rights, calculation of royalties, contracts for minors and music Notes & Comments Editor, Yale Law industry custom and practices. -
Recovery by Choice
Recovery By Choice Living and Enjoying Life Free of Alcohol and Other Drugs A Workbook Fourth Edition By Martin Nicolaus LifeRing Press Content Overview Introduction: Exercising the power of choice is essential to addiction recovery. Why treatment needs to match the individual. The key to success is effective self-treatment. How to work this book. Introduction to the nine domains. Page 15 A Tool for a Sober Lifetime: Life is a series of small decisions having big consequences. The Sobriety T-Chart is a tool to guide each decision in the direction of reinforcing the recovering person’s sober self. Page 29 First Domain: My Body. Give yourself a medical checkup. Look at the wide range of areas where alcohol and other drugs may have had an impact, and flag those where you see issues. Make a plan to get more information and professional help if indicated. Page 35 Second Domain: My Exposure. Survey your immediate environment and flag the points where you are exposed to triggers. Safely dispose of your supplies. Chart a route to avoid slippery places. Create safe spaces. Learn a tool for building your recovery reflexes (the Daily Do). Page 57 Third Domain: My Activities. How are you spending your time? Which of your activities are dangerous to your sobriety, and which are safe? Decide which activities to avoid for now. Look for new activities that will help your recovery. Learn to do a problem activity clean and sober. Page 73 Fourth Domain: My People. Some people support your sobriety, some people oppose it, and some don’t know about it. -
Sober and Alone: a Phenomenological Exploration of the Loneliness Experienced by Recovering Alcoholics
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Liberty University Digital Commons SOBER AND ALONE: A PHENOMENOLOGICAL EXPLORATION OF THE LONELINESS EXPERIENCED BY RECOVERING ALCOHOLICS by Timothy J. Evans Liberty University A Dissertation Presented in Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy Liberty University February 2010 © Timothy J. Evans, February, 2010 All Rights Reserved ii SOBER AND ALONE: A PHENOMENOLOGICAL EXPLORATION OF THE LONELINESS EXPERIENCED BY RECOVERING ALCOHOLICS A Dissertation Proposal Submitted to the Faculty of Liberty University In partial fulfillment of the requirements for the degree Doctor of Philosophy by Timothy J. Evans Liberty University, Lynchburg, Virginia February, 2010 Dissertation Committee Approval: _________________________________________ FRED MILACCI, D.Ed., Chair date _________________________________________ KENNETH REEVES, Ed.D., Reader date _________________________________________ ROBERT LEHMAN, Ph.D., Reader date _________________________________________ LISA SOSIN. Ph.D., Reader date iii ABSTRACT SOBER AND ALONE: A PHENOMENOLOGICAL EXPLORATION OF THE LONELINESS EXPERIENCED BY RECOVERING ALCOHOLICS By Timothy J. Evans Center for Counseling and Family Studies Liberty University, Lynchburg, Virginia Doctor of Philosophy in Counseling This phenomenological inquiry investigated the loneliness experienced by recovering alcoholics. Select participants responded to open-ended interview questions pertaining to their experience of loneliness as well as its impact on their lives. Moreover, participants were asked to indentify what factor or factors may have contributed to the onset or persistence of their loneliness. Phenomenological analysis of the data revealed that loneliness, as experienced by recovering alcoholics, is a recursive experience that is co-morbid with a number of debilitating affects. Therefore, the loneliness that was experienced during recovery represented just one part of a combination of painful affective experiences. -
Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted.