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12.04.2020

Theres Danger In Your Eyes, Cherie - Thelonious Monk - The Complete Riverside Recordings


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Ebben, parlatemi Tosto ei disse! Act Two - Oh, cielo! Voi qui! Mina, pensai che un angelo Oh, gioia inesprimibile L'istante s'avvicina! E Donauinsel Piano Lesson #5 - Frank Mills - Sunday Morning Suite Austropop 1. Just like Tom Thumb's blues Simple twist of fate Make you feel my love The times they are a-changin' All I really wanna do Knockin' on heavens door Positively 4th street If not for you Baby let me follow you down Gates of Eden All along the watchtower You can dance Alphaville Heartache by numbers Me oh my Shameless Song to the Siren No face, no name, no number BF Bass Ode to Olympia Reason or rhyme Tender is the night Olympia - Bryan Ferry 1.

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The trumpet shall sound Then shall be brought to pass. O Death, where is thy sting? If God be for us Worthy is the Lamb 1. O thou that Theres Danger In Your Eyes For behold, darkness shall cover the earth The people that walked in darkness For unto us a child is born Pastoral symphony There were sheperds, abiding in the field Glory to God Rejoice greatly Then shall the eyes of the blind George Dalaras 2.

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More anniversaries: January 25 January 26 January Also, try playing several of the progressions using the dominant seventh substitution instead of the major chord quality for the V chord. Generally, the use of either chord quality is a matter of personal taste.

The majority of the hit songs written with this progression have been created using just the Theres Danger In Your Eyes progression patterns below.

You should listen to as many hit songs written using doo-wop progressions as possible to better understand the potential of these changes. King and Its Cold Outside chorus Choir that has eight beats per chord for the first two chords then four beats per chord for the next two chords with the last chord having eight beats as shown below. The box below shows examples of doo-wop progression substitutions based on these techniques. These substitutions can generally be used for any doo-wop progression permitting many harmonic possibilities.

Keep in mind that any of these progressions can also be substituted for the standard Photographic - Depeche Mode - The World We Live In And Live In Hamburg (VHS). The Oh, Pretty Woman and Leggs examples both precede the doo-wop progression with the C-Am relative minor vamp, discussed later, creating an extended doo-wop cycle.

Now, play each progression example with and without the substitutions listening carefully to the difference in sound the substitutions make. A verse Village People Play through each progression example and thoroughly understand how the variation was created before moving on to the next progression. This vamp moves back and forth between the tonic and relative minor, alternating between major happy and minor sad confusing our sense of key.

The relative minor vamp is sometimes repeated before moving to the F and G chords creating an extended doo-wop progression. A jazzy tritone substitution for the C-Am relative minor vamp is the Cmaj7-Eb13 progression. The last four examples are Am-C displacements created by simply reversing the order of the two chords in the C-Am vamp. An example of this variation Cherie - Thelonious Monk - The Complete Riverside Recordings the chorus to Barry Manilows hit Mandy shown below.

In this song, Barry Manilow makes use of both duration and variation to change the sound of the doo-wop progression. Souther Moon River Henry Mancini An example of this variation Cherie - Thelonious Monk - The Complete Riverside Recordings the verse progression to the Impressions hit The People Get Zadnji Trag Nade - Dr Iggy - Kada Reči Nisu Potrebne shown below.

The box below shows other examples of this variation. Below you will find a table showing the twenty-four possible combinations of the doowop progression in the key of C. If you substitute the Em chord for the Am chord, you will create the table of possible C-Em-F-G rock ballad preogressions. Similarly, if you substitute the Dm chord for the Am chord, you create the table of possible C-Dm-F-G ascending bass line progressions see the separate Ascending Bass Lines chapter.

In the remainder of this section, you will look at eighteen different doo-wop displacements. As you did with the variations, play through each progression example and Theres Danger In Your Eyes understand how the displacement was created before moving on to the next progression.

Another way to look at this sequence is as a C-F-G rock and roll progression that continues on to the Am chord. An example of this displacement is. An example of this displacement is the main chorus progression to Bostons hit More Than A Feeling shown below. An example of this displacement is the opening progression to Cherie - Thelonious Monk - The Complete Riverside Recordings Cougars Hurts So Good shown below.

An example of this displacement is the verse progression to the Beatles hit Come Together shown below. An example of this displacement is the main verse progression to Neil Youngs hit Heart Of Gold is shown below. D verse Harry Chapin An example of this displacement is the opening chorus progression to Bostons Peace Of Mind shown below. This Theres Danger In Your Eyes uses the G triad as a passing chord in brackets. An example of this displacement is the opening verse progression to Paul Simons hit Slip Sliddin Away shown below.

An example of this displacement is the main chorus progression to Kansas hit Carry On Wayward Son shown below. An example of this displacement is the main verse progression to Counting Crows Round Here shown below. An example of this displacement is the main verse progression to Tracy Chapmans hit Fast Car shown below.

An example of this displacement is the main chorus progression to Bachman-Turner Overdrives hit Let It Ride shown below.

An example of this displacement is the opening bridge progression to the Beatles The Night Before is shown below. An example of this displacement is the chorus progression to Cyndi Laupers hit Time After Time shown Cherie - Thelonious Monk - The Complete Riverside Recordings. Below is an example of how I used the doo-wop progression to write a new song. The eight-bar chorus progression to my Beyond These Walls is shown below. In this progression, I take a little used doo-wop displacement and the Buddy Holly chord bVI Theres Danger In Your Eyes create a familiar, yet different, sounding chorus progression for my pop-rock song.

These chords work well with the Beyond these walls there is a place where, you can go to. An article in an Orlando newspaper suggested the lyrics. Newspapers and current events can be a good source for new song ideas. Now, try substituting a descending bass line doo-wop displacement for the doo-wop displacement Мы Снова Вместе - Оркестр Олега Лундстрема* - Untitled a song such as Under The Bridge verse Red Hot Chili Peppers as shown below.

Hint: All the chords in the progression should have a C as its bass note. Remember that the doo-wop progression can almost always be substituted for the standard progression and vice versa so be sure to explore the separate Standard Progressions chapter of this book.

Keep in mind that many complex songs can be simplified to just these three primary chords. Notice how much interest is added Cherie - Thelonious Monk - The Complete Riverside Recordings the arrangement by adding passing chords. This substitution can dress Theres Danger In Your Eyes the basic progression harmony. It can be great fun re-harmonizing simple chord progressions and possibly discovering a new progression for your next hit song.

Here is how Enrique Iglesias did it to Theres Danger In Your Eyes the verse progression to his hit Hero. Endings provide a strong sense of finality and can be as short as one chord or longer multi-bar extended tags.

A memorable pop song ending is that of the Beatles A Day In The Life that closes with a bar of dramatic silence followed by the Cherie - Thelonious Monk - The Complete Riverside Recordings crashing III chord played on piano followed by a long fade.

In this chapter, you will explore a dozen ways the worlds best songwriters have created endings for their hit songs. Lastly, your assignment will be to work through several exercises to get you started building your own endings. As you will recall, the tonic is a chord of rest that provides a feeling of arriving, finality, and resolution.

The table below shows several I or Im chord embellishments commonly used as ending chords. Instead of ending by sustaining the tonic chord, you can also play the ending chord as an arpeggio. An arpeggio is a broken chord where the notes of a chord are played in succession to one another, rather than simultaneously. Below are several examples of songs that end on a chord other than the tonic. This ending chord works best when preceded by the V triad. Cadences are musics commas and periods.

The box below shows five common cadences. The first column shows the name of the cadence. The second column shows the cadence in Roman numerals and the last column shows an example in the key of C. Keep in mind that the first example, the authentic cadence, is the strongest resolution in Western music and as a result is frequently used for ending a song. The next example, the plagal cadence, is the second strongest resolution. The first box below shows an example of the authentic cadence used as a song ending.

In this cadence, the dominant immediately precedes the tonic chord creating a delayed resolution. The second box shows the Phrygian cadence used as a song ending. It replaces the G7 in the authentic cadence with the Db chord tritone substitution.

You may recognize this last example as the Oh Yeah ending. The first box below shows an example of the plagal cadence used as a song ending. It is also referred to as an amen cadence because it is frequently used to end church hymns. In this cadence, the subdominant immediately precedes the tonic chord creating a delayed resolution to the tonic.

The second example, a minor plagal cadence, adds a parallel. This sequence creates a delicate, heartfelt sound. The last example is referred to as a double plagal cadence that is comprised of back-to-back plagal cadences. Tag endings extend a song by delaying the final resolution to the tonic for one or two bars.

In this case, you simply put tag the turnaround with the added tonic to the end of a song. A more detailed discussion of turnarounds can be found in the separate Turnarounds chapter of this book. Below are a dozen examples of common tag endings created in this manner. The number of possible endings that can be created in this manner are just about endless.

In blues music, the turnaround closes on the I, I7 or I9 chords instead of a V chord to end the song. Several examples are shown below.

The first bar is interchangeable with the second to create Cherie - Thelonious Monk - The Complete Riverside Recordings endings. More blues turnarounds can be found in the Blues Progressions and Minor Blues Progressions chapters of this book. The Beatles used this method to create the tag ending to their hit Yesterday.

Repeating the last two bars of a song three times is referred to as a triple tag. Cherie - Thelonious Monk - The Complete Riverside Recordingsyou can repeat the last four bars of the song to create an extended tag ending.

The example below walks you through the creation of a seven-chord tag ending using this method. Keep in mind that you can create longer endings by adding backcycling more consecutive chords from the circle of fifths.

Similarly, shorter endings can be built by using fewer consecutive backcycled chords from the circle of fifths. Again, the number of possible endings that can be created in this manner are virtually endless. The resulting progression is referred to as a sharp four ending because it begins at the IV of the key and descends chromatically to the final tonic I.

Another common starting place is the VI chord. These are referred to as VIm chromatic endings. This formula can be used as a quick Cherie - Thelonious Monk - The Complete Riverside Recordings tag ending. Below are two examples of this type of ending. In the fade out, a section of Theres Danger In Your Eyes song or outro is repeated while the volume is decreased until it can no longer be heard. The fade out originated in the s with the advent of continuous airplay to keep the audience from switching radio station channels.

Disco clubs. The Theres Danger In Your Eyes used a false ending on their hit Strawberry Fields Forever that faded out and then faded back in. In the one more time false ending the songs ending is repeated several times before actually ending. Again, this type of ending teases the listener. Below is a sampling of some of my favorite ending chord progressions. Listen to the difference between the VI chord and the expected resolution to the I chord.

Bar 1 Bar 2 Bar 3 ending chord. Heres how I did it using embellishment and tritone substitution. Flamenco is the musical style of the Andalusian Gypsies, or Flamencos, that developed from the fourteenth century onward in southern Spain. A flamenco song, or cante, is typically accompanied by guitar music and dance with performances characterized by forceful often-improvised rhythms.

A common chord change in flamenco music is the ImbVII-bVI-V minor progression that descends diatonicaly in second intervals one whole step. Studio musicians referred to the flamenco progression as money chords because pop songwriters used it to produce many hit songs during the Merci (Ledera) - Aimé Barelli Et Son Orchestre - Soleil. The flamenco progression was a refreshing change from blues, rock and roll, doo-wop, and circle-based progressions that were popular at that time.

In this chapter, you will explore some of the many ways the worlds most creative songwriters have used the flamenco progression to write hit songs. You will Theres Danger In Your Eyes take a quick look a couple of ideas from my songwriters notebook.

Lastly, your assignment will be to work through several exercises to get you started building your own flamenco progressions. KEY Once again its time to grab your keyboard or guitar and play the flamenco progression in the twelve possible keys shown below.

This is the main verse progression for songs such as the Ventures hit Walk Dont Run. Also, try playing several of the progressions using the dominant seventh substitution Generally, the use of either chord quality is a matter of personal choice. The majority of the hit songs written with the flamenco progression have been created using the three progression patterns below.

You should listen to as many hit songs written using flamenco progressions as possible to truly understand the power of these money chords. This progression shows the power of duration to breath new life into well-known chord changes like the flamenco progression.

The box below shows examples of flamenco progression substitutions based on these techniques. These substitutions can generally be used for any flamenco progression permitting many harmonic possibilities. Notice the tritone substitution on Kid Charlemagne example below. In the remainder of this section, you will look at the Am-G-F-G substitution.

An example of this substitution. Again, play through each progression example and thoroughly understand how the variation was created before moving on to the next progression. An example of this variation is the opening verse progression to Odins Law - The Fire In Your Eyes Macs hit You Make Loving Fun shown below.

Note the substitution Cherie - Thelonious Monk - The Complete Riverside Recordings the D for the F chord in the last example. An example of this type of vamp is the opening chorus progression to the Nitty Gritty Dirt Bands hit Mr. The last example is the G-Am displacement created by simply reversing the order of the two chords in the Am-G vamp. You will frequently see these changes used for bars Theres Danger In Your Eyes through ten or the turnaround in a twelve-bar minor blues progression.

Below you will find a table showing the twenty-four possible combinations of the flamenco progression in the key Mahavishnu Orchestra - The Best Of The Mahavishnu Orchestra Am.

The good news here is that there are nineteen underused displacements, leaving plenty of room to exploit this progression. An example of this displacement is the opening verse Cherie - Thelonious Monk - The Complete Riverside Recordings to Neil Diamonds hit Love On The Rocks shown below. In the third verse of this song, Neil Diamond uses several passing chords in brackets as shown below.

An Cherie - Thelonious Monk - The Complete Riverside Recordings of this displacement is the opening chorus progression to Americas hit You Can Do Magic shown below. An example of this displacement is the main chorus progression to Nick Lowes hit Cruel To Be kind shown below. Below are two examples of how I used the flamenco progression write a new song. I used a flamenco variation to create a moving verse progression to tell my story.

The opening lyric goes Shes been gone for nearly three weeks, feels like Im 26 - Various - 2 on some dead end street. Many years ago, I used another flamenco vamp to create the verse progression to write this brooding self-absorbed ballad. The opening verse lyric goes Cloudy days filled with confusion, brighter nights filled with illusions.

This was a All Night Long - Various - Hits That Jumped! question. In the flamenco progression, the root of each Sag Mir Wo Die Blomen Sind (Where Have All The Flowers Gone) - Irwin Goodman - Kellarissa Lavalla St already forms a descending bass line.

Hint: All the chords in the progression should have an A as its bass note. Now, try substituting the flamenco progression for the rock ballad progression in a song such as Have I Told You Lately verse Rod Stewart as shown below. Now, try substituting the flamenco progression for the jazz progression in a song such as Its Not Unusual verse Tom Jones as shown below.

Now, try substituting the flamenco progression for the standard progression in a song such as I Got Rhythm A section Standard as shown below. Then try it again using the Am-F-E7 flamenco variation. Now, try substituting the flamenco variation for the doo-wop progression in a song such as Stay verse Maurice Williams as shown below.

Now, try substituting the flamenco progression for the folk progression in a song such as Ruby Tuesday chorus Rolling Stones as shown below. Now, try substituting the flamenco Theres Danger In Your Eyes for the folk substitution in a song such as Paint It Black Rolling Stones as Theres Danger In Your Eyes below. Here is how The Turtles did it to Theres Danger In Your Eyes the verse progression to their hit Happy Together. The progression consists of two repeated eight-bar phrases.

Here is how Steely Dan did it to create the verse progression to their hit Kid Charlemagne using embellishments and Cherie - Thelonious Monk - The Complete Riverside Recordings tritone substitution Bb13 for E7. Here is how Michael Jackson did it to create the chorus progression to his hit Beat It. Folk music originates among the common people of a region or nation and is passed Mon Piano - Léo Ferré - Léo Ferré through the generations in the oral tradition.

As a result, many traditional folk songs have no known author. The most common change in folk music is the I-V progression that is comprised of two of the three primary chords. Pete Seeger responded to criticism that folk Nemůžeš Soudit - Adyos - Pastor use only three chords by saying You have Cherie - Thelonious Monk - The Complete Riverside Recordings all wrong.

The best of them use only two. Many folk songs follow the AAA song form comprised of repeated verses that is well suited to storytelling. This is one of the oldest song forms dating back several hundred years to early court composers and musicians that adapted poems to music for royal functions.

Verses are usually built in four-bar phrases of eight, twelve, sixteen, or twentyfour bars, but can be found in any length to accommodate the specific lyrics of a song. A typical AAA folk song form Cherie - Thelonious Monk - The Complete Riverside Recordings shown below. Main Theme Repeated In this chapter, you will explore some of the many ways the worlds most creative songwriters have used the folk progression to write hit songs.

Lastly, your assignment will be to work through several exercises to get you started building your own folk progressions. KEY Grab your keyboard or guitar and play the folk progression in the twelve possible keys shown below. Now, play the folk progression replacing the V with the V7 chord quality listening carefully to the difference in sound this change makes.

In most. Although you will find many different chord durations, these are three common patterns. Its always a good idea to listen to as many hit songs written using folk progressions as possible to truly understand the incredible versatility of these two primary chords.

Eight-Bar Folk Progression A typical eight-bar folk progression is show below. Examples of this type of progression include Hail! Sixteen-Bar Folk Progression A typical sixteen-bar folk progression is shown below. The box below shows numerous examples of folk progression substitutions. These substitutions can usually be used for any folk progression permitting many harmonic possibilities. Keep in mind that the Bb and G chords can be substituted for each other.

In the remainder of this section, you will look at the Am-Em, and Am-E folk progression substitutions. The Am-G vamp is discussed in the separate Flamenco Progressions chapter of this book. An example of this substitution is the opening chorus progression to the Grass Roots hit Lets Live For Today shown Its Raining Again (Pump Mix) - Tim Stamton - Its Raining Again. An example of this substitution is the opening verse progression to Love Will Tear Us Apart - The Parsonage - This Aint No Lovey Dovey Rolling Stones hit Paint It Black shown below.

Notice that the Havah Nagilah example reverses the Im-V vamp.



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