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Cannonball (Breeders Song)
"Cannonball" is a song by American alternative rock band the Breeders from their second studio album, ''Last Splash'' (1993). It was released as a single on August 9, 1993, on 4AD and Elektra Records, reaching 44 on the US ''Billboard'' Hot 100 and on the UK Singles Chart. In November 1993, the single was released in France, where it charted for 30 weeks, peaking at . The song demo was originally called "Grunggae" as it merged "island riffs and grunge". This demo was later included in the 20th anniversary re-release of the album ''LSXX'' in 2013. Recording The rhythm of the introduction is constructed from metallic clicking on a snare rim and cymbal stand, which is tapped out by the Breeders drummer Jim McPherson. The loud, distorted voice of Kim Deal at the beginning of the song was achieved by singing closely into a harmonica microphone, which can also be seen in most live performances. Composition "Cannonball" is an alternative rock, pop rock, indie pop and grunge song th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Breeders
The Breeders are an American alternative rock band based in Dayton, Ohio, consisting of members Kim Deal (rhythm guitar, lead vocals), her twin sister Kelley Deal (lead guitar, vocals), Josephine Wiggs (bass guitar, vocals) and Jim Macpherson (drums). The earliest incarnation of the band was formed by Kim Deal and Tanya Donelly in 1989 as a side-project alongside their full-time bands Pixies (band), Pixies and Throwing Muses respectively. To record their debut album, 1990's ''Pod (The Breeders album), Pod'', Deal and Donelly recruited bassist Josephine Wiggs of the Perfect Disaster and drummer Britt Walford of Slint. Kim's sister Kelley was brought into the band as a third guitarist (though at the time, Kelley had never played guitar before) in 1992 to record the ''Safari (EP), Safari'' EP, and shortly thereafter Tanya Donelly left to concentrate full-time on her own new band, Belly (band), Belly, leaving Kelley Deal as the sole lead guitarist; Britt Walford left as well aroun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sheet Music
Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed Book, books or Pamphlet, pamphlets in English, Arabic, or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment). However, access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter Computer program, computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instrumentation, virtual instruments. The use of the term "sheet" is intended to differentiate written or printed forms of music from sound recordings (on vinyl record, compact cassette, cassette, Compact disc, CD), radio or Television broadcasting, TV broadcasts or recorded live perfor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass Line
Bassline (also known as a bass line or bass part) is the term used in many styles of music, such as blues, jazz, funk, dub and electronic, traditional, and classical music, for the low-pitched instrumental part or line played (in jazz and some forms of popular music) by a rhythm section instrument such as the electric bass, double bass, cello, tuba or keyboard (piano, Hammond organ, electric organ, or synthesizer). In unaccompanied solo performance, basslines may simply be played in the lower register of any instrument while melody and/or further accompaniment is provided in the middle or upper register. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline. On organs, the bass line is typically played using the pedal keyboard and massive 16' and 32' bass pipes. Riffs and grooves Basslines in popular music often use "riffs" or " grooves", which are usually simple, appealing musical motifs or ph ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Feedback
Feedback occurs when outputs of a system are routed back as inputs as part of a chain of cause and effect that forms a circuit or loop. The system can then be said to ''feed back'' into itself. The notion of cause-and-effect has to be handled carefully when applied to feedback systems: History Self-regulating mechanisms have existed since antiquity, and the idea of feedback started to enter economic theory in Britain by the 18th century, but it was not at that time recognized as a universal abstraction and so did not have a name. The first ever known artificial feedback device was a float valve, for maintaining water at a constant level, invented in 270 BC in Alexandria, Egypt. This device illustrated the principle of feedback: a low water level opens the valve, the rising water then provides feedback into the system, closing the valve when the required level is reached. This then reoccurs in a circular fashion as the water level fluctuates. Centrifugal governors were ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural, or simply changes) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the " key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Verse–chorus Form
Verse–chorus form is a musical form going back to the 1840s, in such songs as "Oh! Susanna", " The Daring Young Man on the Flying Trapeze", and many others. It became passé in the early 1900s, with advent of the AABA (with verse) form in the Tin Pan Alley days. It became commonly used in blues and rock and roll in the 1950s, and predominant in rock music since the 1960s. In contrast to 32-bar form, which is focused on the refrain (contrasted and prepared by the B section), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse). The chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. This is referred to as a "breakout chorus". See: arrangement. Contrasting verse–chorus form Songs that use different music for the verse and chorus are in contrasting verse–chorus form. Examples include: * " That'll Be the Day" by Budd ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Introduction (music)
In music, the introduction is a passage or section which opens a movement or a separate piece, preceding the theme or lyrics. In popular music, this is often known as the song intro or just the intro. The introduction establishes melodic, harmonic or rhythmic material related to the main body of a piece.Pease, Ted (2003), p.172. ''Jazz Composition : Theory and Practice''. . Introductions may consist of an ostinato that is used in the following music, an important chord or progression that establishes the tonality and groove for the following music, or they may be important but disguised or out-of-context motivic or thematic material. As such, the introduction may be the first statement of primary or other important material, may be related to but different from the primary or other important material, or may bear little relation to any other material. A common introduction to a rubato ballad is a dominant seventh chord with fermata, an introduction that works for many s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
B♭ (musical Note)
B (B-flat), or, in some European countries, B, is the eleventh step of the Western chromatic scale (starting from C (musical note), C). It lies a diatonic semitone above A (musical note), A and a chromatic semitone below B (musical note), B, thus being enharmonic to A♯ (musical note), A, even though in some musical tunings, B will have a different sounding pitch than A. B-flat is also enharmonic to C (C-double flat). When calculated in equal temperament with a reference of A (musical note), A above middle C as 440 hertz, Hz, the frequency of the B above middle C is approximately 466.164 Hz. See pitch (music), musical pitch for a discussion of historical variations in frequency. While orchestras tune to an A provided by the oboe, oboist, wind ensembles usually tune to a B-flat. In Germany, Russia, Poland, Scandinavia and Slovakia this pitch is designated B, with 'H' used to designate the B-Natural (music), natural. Since the 1990s, B-flat is often denoted Bb or "Bess" instead o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E♭ (musical Note)
E (E-flat) or mi bémol is the fourth semitone of the solfège. It lies a diatonic semitone above D (musical note), D and a chromatic semitone below E (musical note), E, thus being enharmonic to D (D♯ (musical note), D-sharp) or ''re dièse''. In equal temperament it is also enharmonic with F (F-double flat). However, in some musical temperament, temperaments, D is not the same as E. E is a perfect fourth above B♭ (musical note), B, whereas D is a major third above B (musical note), B. When calculated in equal temperament with a reference of A (musical note), A above middle C as A440 (pitch standard), 440 hertz, Hz, the frequency of the E above middle C (or E4) is approximately 311.127 Hz. See pitch (music) for a discussion of historical variations in frequency. In German nomenclature, it is known as Es, sometimes (especially in the context of motif (music), musical motifs, e.g. DSCH motif) abbreviated to S. Designation by octave Scales Common scales beginning on E * E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocal Range
Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of study within linguistics, phonetics, and speech-language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech. Singing and the definition of vocal range While the broadest definition of "vocal range" is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E-flat Major
E-flat major is a major scale based on E, consisting of the pitches E, F, G, A, B, C, and D. Its key signature has three flats. Its relative minor is C minor, and its parallel minor is E minor, (or enharmonically D minor). The E-flat major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The E-flat harmonic major and melodic major scales are: Scale degree chords The scale degree chords of E-flat major are: * Tonic – E-flat major * Supertonic – F minor * Mediant – G minor * Subdominant – A-flat major * Dominant – B-flat major * Submediant – C minor * Leading-tone – D diminished Characteristics The key of E-flat major is often associated with bold, heroic music, in part because of Ludwig van Beethoven's usage. His ''Eroica Symphony'', ''Emperor Concerto'' and ''Grand Sonata'' are all in this key. Beethoven's (hypothetical) 10th Symphony is also in E-flat. B ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Key (music)
In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, jazz music, art music, and pop music. A particular key features a '' tonic (main) note'' and its corresponding '' chords'', also called a ''tonic'' or ''tonic chord'', which provides a subjective sense of arrival and rest. The tonic also has a unique relationship to the other pitches of the same key, their corresponding chords, and pitches and chords outside the key. Notes and chords other than the tonic in a piece create varying degrees of tension, resolved when the tonic note or chord returns. The key may be in the major mode, minor mode, or one of several other modes. Musicians assume major when this is not specified; for example, "this piece is in C" implies that the key of the piece is C major. Popular songs and classical music from the common practice period are usually in a single key; longer pieces in the classical repe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
