|
Rockaway Beach (song)
"Rockaway Beach" is a song by American punk rock band Ramones, released in 1977 from the band's third studio album '' Rocket to Russia''. The song was written by bassist Dee Dee Ramone in the style of the Beach Boys and early surf rock bands. The song is about Rockaway Beach in Queens, where Dee Dee liked to spend time. Guitarist Johnny Ramone claimed that Dee Dee was "the only real beachgoer" in the group. Released in 1977, it was the Ramones' highest-charting single in their career, peaking at number 66 on the ''Billboard'' Hot 100. Background "Rockaway Beach" was inspired by the actual Rockaway Beach located in New York, where lead singer Joey Ramone was raised. The song was written by bassist Dee Dee Ramone who frequently visited the beach. Composition "Rockaway Beach" is a punk rock song that runs for a duration of two minutes and six seconds. According to the sheet music published at Musicnotes.com by Alfred Music, it is written in the time signature of common time ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ramones
The Ramones were an American punk rock band that formed in the New York City neighborhood of Forest Hills, Queens, in 1974. They are often cited as the first true punk rock group. Despite achieving a limited commercial appeal in the United States during their time together, the band saw more success in England and Brazil, and are today seen as highly influential. All of the band members adopted pseudonyms ending with the surname "Ramone", although none of them were biologically related; they were inspired by Paul McCartney, who would check into hotels as "Paul Ramon". The Ramones performed 2,263 concerts, touring virtually nonstop for 22 years. In 1996, after a tour with the Lollapalooza music festival, they played a farewell concert in Los Angeles and disbanded. By 2014, all four of the band's original members had died – lead singer Joey Ramone (1951–2001), bassist Dee Dee Ramone (1951–2002), guitarist Johnny Ramone (1948–2004) and drummer Tommy Ram ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joey Ramone
Jeffrey Ross Hyman (May 19, 1951 – April 15, 2001), known professionally as Joey Ramone, was an American musician, best known as the lead singer and a founding member of the punk rock band Ramones. His image, voice, and his tenure with the Ramones made him a countercultural icon. Early life Jeffrey Ross Hyman was born on May 19, 1951, in Queens, New York City, to a Jewish family. His parents were Charlotte (''née'' Mandell) and Noel Hyman. He was born with a parasitic twin growing out of his back, which was incompletely formed and surgically removed. The family resided in Forest Hills, Queens, where Hyman and his future Ramones bandmates attended Forest Hills High School. He grew up with his brother Mickey Leigh. Though generally a happy person, Hyman was something of an outcast, diagnosed at 18 with obsessive–compulsive disorder and schizophrenia. His mother, Charlotte Lesher, divorced her first husband, Noel Hyman. She married a second time but was widowed when he ... [...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 songs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A (musical Note)
A or La is the sixth note and the tenth semitone of the fixed-do solfège. Its enharmonic equivalents are B (B double flat) which is a diatonic semitone above A and G (G double sharp) which is a diatonic semitone below A. "A" is generally used as a standard for tuning. When the orchestra tunes, the oboe plays an "A" and the rest of the instruments tune to match that pitch. Every string instrument in the orchestra has an A string, from which each player can tune the rest of their instrument. "A" is also used in combination with a number (e.g. A-440) to label the pitch standard. The number designates the frequency in hertz. A lower number equals a lower pitch. The International Standards Organization (ISO) has standardized the pitch at A-440. However, tuning has varied over time, geographical region, or instrument maker. In 17th-century Europe, tunings ranged from about A-374 to A-403, approximately two to three semitones below A-440. Historical examples exist of instruments, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
E (musical Note)
E is the third note and the fifth semitone of the C major scale, and mi in fixed-do solfège. It has enharmonic equivalents of F♭ F-flat) which is by definition a diatonic semitone above Eand D (D-double sharp), amongst others. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of Middle E (E4) is approximately 329.628 Hz. See pitch (music) for a discussion of historical variations in frequency. Designation by octave Scales Common scales in the key of E. * E major: E F G A B C D E * E natural minor: E F G A B C D E * E harmonic minor: E F G A B C D E * E melodic minor ascending: E F G A B C D E * E melodic minor descending: E D C B A G F E E major modes (diatonic scales). * E Ionian: E F G A B C D E * E Dorian: E F G A B C D E * E Phrygian: E F G A B C D E * E Lydian: E F G A B C D E * E Mixolydian: E F G A B C D E * E Aeolian: E F G A B C D E * E Locrian: E F G A B C D E E melodic (Jazz) minor modes * E ascending ... [...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 performance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Major
A major (or the key of A) is a major scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has three sharps. Its relative minor is F-sharp minor and its parallel minor is A minor. The key of A major is the only key where the Neapolitan sixth chord on (''i.e.'' the flattened supertonic) requires both a flat and a natural accidental. The A major scale is: : In the treble, alto, and bass clefs, the G in the key signature is placed higher than C. However, in the tenor clef, it would require a ledger line and so G is placed lower than C. History Although not as rare in the symphonic literature as sharper keys (those containing more than three sharps), symphonies in A major are less common than in keys with fewer sharps such as D major or G major. Beethoven's Symphony No. 7, Bruckner's Symphony No. 6 and Mendelssohn's Symphony No. 4 comprise a nearly complete list of symphonies in this key in the Romantic era. Mozart's Clarinet Concerto ... [...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 classical, Western art, and Western pop music. The group features a '' tonic note'' and its corresponding ''chords'', also called a ''tonic'' or ''tonic chord'', which provides a subjective sense of arrival and rest, and also has a unique relationship to the other pitches of the same group, their corresponding chords, and pitches and chords outside the group. 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 or minor mode, though musicians assume major when this is not specified, e.g., "This piece is in C" implies that the key of the song is C major. Popular songs are usually in a key, and so is classical music during the common practice period, around 1650–1900. Longer pieces in the classical repertoire may have sections in contrasting keys. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Time Signature
The time signature (also known as meter signature, metre signature, or measure signature) is a notational convention used in Western musical notation to specify how many beats (pulses) are contained in each measure (bar), and which note value is equivalent to a beat. In a music score, the time signature appears at the beginning as a time symbol or stacked numerals, such as or (read ''common time'' or ''four-four time'', respectively), immediately following the key signature (or immediately following the clef symbol if the key signature is empty). A mid-score time signature, usually immediately following a barline, indicates a change of meter. There are various types of time signatures, depending on whether the music follows regular (or symmetrical) beat patterns, including simple (e.g., and ), and compound (e.g., and ); or involves shifting beat patterns, including complex (e.g., or ), mixed (e.g., & or & ), additive (e.g., ), fractional (e.g., ), and irrational met ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> Tempo")