Download 94 Flow Song [BEST]

I have seen threads on this community regarded the song mentioned in the title, called "Shiver me timbers", but nowhere on the entirety of the Internet can I find anything regarding the droning harmony in the instrumental (if you are unsure as to what I mean, listen to the full album version of flow from "thank you happy birthday"). Those long slow notes: what are they? What instrument? The music haunts me and if anyone knows how to play it or where I can learn, any would be greatly appreciated. Thank you in advance.

Flow is a feature that allows the basic components of a song (verses, choruses, bridges and more) to be arranged in a particular order. OnSong then displays those parts of the song to create one continuous page. This allows the song to be experienced in a linear fashion by scrolling from the top down.

Download 94 Flow Song

Download Zip 🔥 https://urllie.com/2y2Enm 🔥

The system is very flexible and requires you only to label the sections of your song. You can then use an abbreviated version of the flow, or a more verbose version to allow even more options like displaying musical instructions at just the right time in the song.

There has always been a great connection between music and basketball, dating all the way back to when basketball games were actually played in dance halls. Julius Erving was mentioned in many songs during his career, ranging from Run-D.M.C.'s "You be Illin'" to Kurtis Blow's "Basketball" but he also had the great honor of having an entire song composed as a tribute to his greatness: Grover Washington Jr.'s "Let it Flow (for Dr. J)." The ebbs and flows in that song perfectly fit the way Erving glided smoothly down the court before slamming the ball home with unmatched grace and style. The Greatest Sports Legends episode about Erving includes a fantastic video montage of Erving highlights with "Let it Flow" as the soundtrack; Erving's assortment of inimitable moves and Washington's wonderful melody meld seamlessly into one of the most beautiful pieces of performance art you will ever see or hear. That clip does not seem to be available on the internet but while looking for it I stumbled upon a treasure that is almost as good:

Sadly, Washington passed away in 1999, at just 56 years of age. Washington performed the National Anthem before many Sixers home games at the Spectrum, which recently hosted its final Sixers game; the Sixers moved across the street to the Wachovia Center in 1996 but returned to the Spectrum for one last time before the building is demolished this summer.Labels: Grover Washington Jr., Julius Erving

i heard this on the radio a few weeks ago and damn near cried since dr j was my fathers (RIP) favorite player. my 4 yr old daughter loves this song. i grew up to grover washington and many other jazz artist of his time. let it flow is perfect for doc.

Does anyone know the name of the song played at the end of this episode of Greatest Sports Legends, during the credits when Erving and Ken Howard were shooting hoops?

Thanks

Andrew

highlandcreek7@hotmail.com

like seriously i can make 100 cool original sounding guitar riffs i can sometimes put the riff over some chords but then when it comes to a new part in the song i feel like i lost the way the song is supposed to sound like if i had Part 1...Part 2....and Part 3 the links between them are broken...what i wanna do is make the links come together and join and sound as one. this maybe confusing but hopefully someone can help me out on this cuz this really is my biggest frustration.

Idea 5: If the parts are all in one key or there are multiple parts in one key be careful about adding notes to the scale you have established in the song (ie if your using an IV (4th note, D) in A dont all of a sudden start using a b-iv-m (flat minor 4th, Dbmin), sometimes it works but for starting out its a little tricky as the listener can get lost as to whats going on.

Sorry i cant be of too much help, just started exploring songwriting myself. i find that learning just enough of the "rules" (theory) to give a general frame of reference without overiding the creative impulse has helped a lot. Of course i still suck, just not quite so much

When your writing a song the listener has to have a good idea what key your in, even if they have no idea what that is (the scales of western music are so pervasive in modern music that music not based on them just sounds inherantly wrong or off to us).

When you through in enough off notes the brain automatically assumes that youve switched keys and the cool "wierd" feeling of the notes in the song goes away, but the rest of the notes start to sound strange, generally not in a good way. There are many ways to reestablish a sense of key in a progression or different ways to fit in those off notes without getting lost in the progression. I know its probably said a lot around here, but you may want to pick up a theory book. (nothing too complicated, this is rock not free jazz or something! )

One practical sugestion is that if you use a non scale note or chord try mapping it to your scale and using that note to replace its predecessor on the scale. Basically you retain the 7 note scale that you had before but you replace say the third scale degree with a flat major third, so your not playing the third degree and the flat major third degree in the same riff. This is not surefire but it tends to help beginning songwriters. Sorry i cant make more sense, im not a teacher... good luck

Start with one good riff that you like, then build a song around that: Use the characteristics of that riff to write new ones. For example, if the defining aspect of that first riff is a certain melody, then create variations on that melody for new riffs.

Anom i really get what your saying thanks man, but sometimes i try to make things too complicated?? I dont know why im like that just if something seems to simple to play i make it harder...i think my band spends more time on the guitar and bass and drums then the actual singing it lacks there too...i mean were melodic hardcore and most of it is just screaming...i can never tell if the singer in some songs is screaming in a certain key or what.

i totally agree with what Anomandaris is saying, i was just assuming that we were kinda taking that for a given and trying to throw a couple of concrete ideas out there... I think that building a song around one really strong riff is a great idea, particularly if you can extend a melodic idea well. Keeping it simple is a really good idea, think of some of the best songs youve heard, (i think smashing pumpkins siamese dream era) odds are that unless your a jazz fan then the progressions arent really outwardly complex (even if they are very carefully and skillfully constructed). I like to try to come up with a good chorus first cause i find that i have a much easier time with verses so starting with the hard part first. Unfortunately i still generally get ideas for verses and then have to struggle through a chorus. Good luck!

Strangely enough, some of my best songs have a very different lyrical melody between the verses and choruses, but the same, or very similar chord structure throughout the entire song. Add a counterpoint melody, some drum fills and dynamics and BU vocal arrangements and there you go.

It depends on the context, every note in the scale has its function and certain degree of tension or relief. Playing with these characteristics is the way we make music and establish tonality. Notes outside the scale are considered as tensions and of key, so when you use them and whant to mantain a sense of key you have to resolve to a scale note to make a relief. You also have to consider that there are tensions inside the scale like the 7th grade, in these cases you can proceed like before. Of course these are only guidelines to help you understand the musical flow (I hope). Note that tonality can change many times during a song (modulate) making your original scale of key, this is not too common in rock but it can be done, believe me that adds richness to a song. Hotel California is a good example, changin from a minor key to a major key in the chorus gives that extra punch.

This is my approach to storytime planning, too! But I must say, even though I generally eschew themes, your theme-organized resources (especially those on your YouTube channel) are my go-tos for finding the perfect song or fingerplay to build a bridge from one book to another.

I love this! I have been struggling with coming up with different themes for storytime. Choosing a theme restricts the mind and using flow gives the mind more creative thoughts. Your example is excellent! This opens so many more avenues in storytime.

This is a great example! I prefer storytime flow to themes as well. I have been doing storytimes for over 30 years and I have found this works well and you can use quality books, music and activities that may not at first glance seem to work together.

Repetition of words, songs, rhymes, and stories helps *everyone* learn English, but ESL families will especially benefit. The majority of my storytime families speak Mandarin and including a core set of songs and rhymes each week helps them learn the language and participate in the storytime better. I also put up the lyrics as they have requested the written version too. I wrote two posts about repetition that I think you will find helpful in thinking about how to serve your ELL population. Here is part 1 which includes a link to part 2: -in-storytime-part-1/

Hi! We're Dana and Lindsey, two children's librarians ready to take on storytime. Jbrary is a library of storytime resources for those of us working with children. Join us for songs, rhymes, fingerplays, and more!

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