Word: chords
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...everyone could rally around. (Check out the video of its first public performance on the With the Lights Out DVD; as soon as the drums kick in, the whole room learns how to levitate.) But the closer you listen, the more it sounds like straight pop. That four-power-chord sequence that never ever changes? It's got the rhythm from Boston's "More Than a Feeling," but it's not a riff anyone had heard before. If you'd asked one hundred Sex Pistols/Ramones wannabes how F-Bb-Ab resolves, one hundred of them would've told...
...Seated on a leather piano bench, Harrell opened the adagio-moderato movement of Sir Edward Elgar’s “Cello Concerto in E Minor, Op. 85” with a declamatory broken chord. Harrell—who made his BSO debut in November 1978—favored a smoother, lighter touch to the opening theme, as opposed to the heavily sustained passion of English cellist Jacqueline Du Pré’s definitive 1965 recording of the concerto with the London Symphony...
...impressive as the new overall flavor of hip-hop, and sometimes the unnecessary crudeness of the lyrics actually detracts from the freshness of the background sounds. In other songs, the lyrics are simply nothing special: for example, “Cappuccino” begins with a chord that sounds like it’s from an 8-bit video game, something one would almost never expect from a hip-hop compilation, but the fact that they repeatedly sing, “I need a fresh cappuccino with a mocha twist / Fresh fresh cappuccino with a mocha twist” dampens...
...come under criticism among Republicans the past couple months for McCain's slip in the Florida polls, but whose counsel and on-the-ground knowledge, say backers, has too often been ignored by the McCain campaign's national bosses. "The Senator's economic message has struck a chord with small-business owners here - Jose the Plumber, if you will." And that includes non-Cuban Latinos, she insists, who polls suggest could trend McCain's way in Florida because of their conservative stances on social issues like abortion...
...driving triplets, and the entire ensemble shifted and swelled together as if impelled by an unrelenting force. The violins’ harmonics returned like a metallic wind, and the cellos and brass played a majestic theme with soaring eloquence. The united orchestra concluded the piece with a resounding, affirming chord. Igor Stravinsky’s “Symphony in Three Movements” was next, continuing the feeling of locomotion that “Flying Machine” had established. Despite shaky intonation at the beginning of the piece, the orchestra played with appropriately dry, exact rhythm, supported...