50 Sentences With "another tune" | Random Sentence Generator

Another tune started to play as his student agonized through push-ups.

I can also change it by singing another tune that I'd prefer to hear.

Someone called out the title of another tune, and the rest picked up the cue.

But last week at a town hall in Detroit, he was singing yet another tune.

And they are introduced with another tune from the movie — "The Oompa-Loompa Song," by Leslie Bricusse and Anthony Newley.

And now we have another tune to obsess over after Apple Music dropped the video for "I'll Never Love Again" Friday morning.

Another tune off that "Purple Rain" album, "Darling Nikki," which details a one-night stand, prompted the formation of the Parents Music Resource Center.

They will be served next to your main course on a sectioned china or glass plate, each in its own well, another tune from the past.

His solo on another tune, a rattling drum-and-bass loop in 7/8 time, reached such a fever pitch that afterward, Mr. Lindner fell silent for a moment.

When the town refuses to pay him for his services, the piper plays another tune to hypnotize the children and lead them out of the town, never to be seen again.

They protected the song's structure and its melodic center, but then turned off on a side road into another tune, only to come back to "Lonely Woman" much later, and then veer off elsewhere.

"Happy Birthday," which the suit calls "the world's most popular song," can be traced to another tune with the same melody but different lyrics: "Good Morning to All," written by Mildred Hill and her sister Patty, a kindergarten teacher in Kentucky, which was published in 1893.

Another tune, "Mae", for the Scott-MacLaine-Delon section of the film, was also released in several versions.

The English Hymnal, 1907; p. 53 In Cornwall, the carol is popularly sung to "Lyngham", a tune usually associated with "O for a Thousand Tongues to Sing". Another tune traditionally used for it in Cornwall is "Northrop".The English Hymnal, 1907; p.

Purcell, William (1957) Onward Christian Soldier. London: Longmans, Green; pp. 145-48 In Cornwall, the carol "While shepherds watched their flocks" is popularly sung to "Lyngham", a tune usually associated with "O for a Thousand Tongues to Sing". Another tune traditionally used for it in Cornwall is "Northrop".

The ride starts with a left turn out of the station and to the lift-hill. At the top of the lift-hill riders go down the highest drop in the ride and into a series of drops and twists while music by The Beach Boys (or another tune with similar style and theme) is playing, before hitting the final brake run and returning to the station.

The band followed up "The Letter" with "Neon Rainbow", another tune written by Thompson and produced by Penn. An album called The Letter/Neon Rainbow appeared in November 1967. The Box Tops released three albums over a nine- month period from late 1967 to mid-1968. Some of the group's instrumental tracks were performed by session musicians like Reggie Young, Tommy Cogbill, Gene Chrisman, and Bobby Womack at American Sound Studio.

Rough Guides. p. 730. It was almost rejected by producer Alfred Lion, who thought it was "too old-timey", but it was retained at the insistence of Blakey and Silver, who threatened to cancel the session until Silver had written another tune to record in its place if it was not included.Silver, Horace (2007) Let's Get to the Nitty Gritty – The Autobiography of Horace Silver. University of California Press.

This tune is still frequently sung at Holocaust Remembrance Day services. Some also sing it at the Passover Seder, in memory of the Warsaw Ghetto Uprising, which began on the first night of Passover in 1943. Another tune to the words of Ani Ma'amin is used as a positive song included at happy events, mainly weddings. The words are the same, but a much happier tune is used.

Davies then moved on to session work again and soon was composing songs and performing with vocalist Ronnie Lane who was an old friend and former member of the English bands, The Faces and the Small Faces.Unterberger, Ritchie AMG Reviews: Biography All- Music Review Together, the two wrote and recorded the opening track for Lane's album See Me, as well as "One Step", and another tune, "She's Leaving", in 1979.

The German-language patriotic song "" (French "", Italian "", Romansh ""), composed in 1811 by Johann Rudolf Wyss (1743–1818), was used as de facto national anthem from about 1850. The setting of the hymn to the British tune of "God Save the Queen" led to confusing situations when both countries' anthems were played. Therefore, it was replaced with another tune in 1961. The Swiss Psalm was composed in 1841 by Alberich Zwyssig (1808–1854).

Johann Walter's "Es woll uns Gott genädig sein" hymn tune, Zahn No. 7246, originally composed for another hymn, was published in 1524. That hymn tune, however, was from 1543 associated with the "Christ unser Herr zum Jordan kam" hymn. Another tune for the "Es woll uns Gott genädig sein" hymn, Zahn No. 7247, was published in 1524 in Strasbourg. Heinrich Schütz set it as part of his Becker Psalter of all psalms in German.

She continued to weave in appearances as a solo performer on the coffeehouse circuit with her folk-style guitar. She opposed building a Pacific Gas and Electric nuclear plant at the seismically precarious Bodega Bay. In organizing the resistance to that siting proposal, she recorded an album on the Fantasy label with Wally Rose, Bob Helm, Bob Mielke, and Lu Watters. It included the title track, "Blues over Bodega", and another tune, San Andreas Fault.

The name was changed from RHONDDA to CWM RHONDDA by Harry Evans (composer), of Dowlais, to avoid confusion with another tune by M. O. Jones. As described by William Jensen Reynolds, Hughes worked his entire life in secular jobs, his worldwide fame as a composer of hymn tunes being the result of a hobby he pursued on the side. Like his father, who had profound effect on him, Hughes participated actively as member and deacon in Tonteg's Salem Baptist Church.

The original theme was "News Scoop" by Len Stevens, which was used until 6 November 1971. From 13 November 1971 to 11 October 1975, another tune, composed by Barry Stoller who also composed the Match of the Day theme, was used. The programme's longest running and best known theme, composed for the programme by Keith Mansfield, was first heard at the end of the 11 October 1975 edition (the 1000th edition of Grandstand) and remained until the end of the programme's existence.

Howe recalled: "Jon would say to me, 'What have you got that's a bit like that...?' so I'd play him something and he'd go: 'that's great. Have you got anything else?' and I'd play him another tune". One riff that Howe played for Anderson was rejected at first, but it was later incorporated into "The Ancient" as by then, the two sought for a different theme that would suit the track. A six-hour session in Savannah, Georgia that ended at 7 a.m.

Unlike peasant doinas, lăutar and klezmer doinas are usually accompanied and played on more complex instruments (violin, pan-pipe, cymbalom, accordion, clarinet, tarogato, etc.). Also, unlike peasant doinas, lăutar and klezmer doinas are mostly played as an introduction to another tune, usually a dance. In the regions of Southern Romania, Romani lăutari developed a type of doina called cântec de ascultare (meaning "song for listening", sometimes shortened to de ascultare or simply ascultare). The cântec de ascultare spread to other regions of Romania, with local particularities.

The hymn is more commonly sung to another tune of the same name by Edwin George Monk. In 1861 he published a hymnal entitled Hymns fitted to the Order of Common Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church, According to the Use of the Church of England, To which are added Hymns for Certain Local Festivals, and in 1898 The Free Rhythm Psalter. He also served on the publishing committee of the original edition of Hymns Ancient and Modern (1861).

The manuscript is particularly informative in that it contains tunes found in contemporary and later collections, but often in distinct variants. Curds and Whey, with 3 distinct strains here, appears in a similar version with more variations, in the George Skene manuscript, written in Aberdeenshire some 20 years later, there called Wat ye what I got late yestreen; in The Northern Minstrel's Budget a verse list of tunes from the early 19th century, the title of this appears as And I got yesternight curds and whey, suggesting that Atkinson's and Skene's titles are both fragments of the same lyric. Another tune in the book, The Reed House Rant, here with 8 strains, also appears elsewhere - Playford printed a different variant as "A Jig divided 12 ways", while it appeared again half a century later as an Old Lancashire Hornpipe in Walsh's Compleat Collection, and later still back in Newcastle, as a 2-strain version in the William Vickers manuscript. Another tune in the manuscript, a triple-time hornpipe called Uncle John seems to be connected, melodically, harmonically and structurally, with Madam Catbrin's Hornpipe, from Marsden's collection of 1705.

The modern concrete London Bridge. A melody is recorded for "London Bridge" in an edition of John Playford's The Dancing Master published in 1718, but it differs from the modern tune and no lyrics were given. An issue of Blackwood's Magazine in 1821 noted the rhyme as a being sung to the tune of "Nancy Dawson", now better known as "Nuts in May" and the same tune was given in Richard Thomson's Chronicles of London Bridge (1827). Another tune was recorded in Samuel Arnold's Juvenile Amusements in 1797.

It has been suggested that the song may have originally arisen out of American minstrelsy. The earliest printing of the song is from 1852, when the lyrics were published with similar lyrics to those used today, but with a very different tune. It was reprinted again two years later with the same lyrics and another tune. The modern tune was first recorded with the lyrics in 1881, mentioning Eliphalet Oram Lyte in The Franklin Square Song Collection but not making it clear whether he was the composer or adapter.

Due to Nageswara Rao's death, a song's tune was replaced with another tune and a few lines of the song Nenu Puttanu from the film Prem Nagar (1971). Harsha Vardhan was selected in late April 2013 to write the film's dialogues, in consideration of his work in Gunde Jaari Gallanthayyinde (2013). Since the film was a period drama, Nagarjuna wanted an experienced veteran cinematographer, and approached P. C. Sreeram. As Sreeram was busy with I (2015), P. S. Vinod was finalised as the cinematographer, marking his return to Telugu cinema after Panjaa (2011).

It was in this respect that Johnson distinguished himself from his colleagues, in that (in his own words), he "could think of a trick a minute". Comparison of many of Johnson's recordings of a given tune over the years demonstrates variation from one performance to another, characterised by respect for the melody, and reliance upon a worked out set of melodic, rhythmic, and harmonic devices, such as repeated chords, serial thirds (hence his admiration for Bach), and interpolated scales, on which the improvisations were based. This same set of variations might then appear in the performance of another tune.

In Davies Gilbert's preface to his 1822 publication, he writes It was popularised by its inclusion in John Stainer and Henry Ramsden Bramley's Christmas Carols, New and Old of 1877, albeit in a Victorianised non-modal form, with a grammatically corrected text. In this version, the carol was chosen by Edward White Benson to be the opening carol at the original Festival of Nine Lessons and Carols at Truro Cathedral in 1880. In addition to Gilbert Davies' collected version, another tune also exists and there are numerous textual variations, including additional verses.Hugh Keyte and Andrew Parrott, The New Oxford Book of Carols.

According to Ilaiyaraaja's brother Gangai Amaran, it was one of the hardest songs in the album to write. Mahendra wanted a song depicting Chandru playing the guitar and asked Ilaiyaraaja for a tune; Ilaiyaraaja played the "scratch notes" of the song that would become "Ilaya Nila", but Mahendra was not pleased and asked for another tune; Ilaiyaraaja gave him the tune of "Yen Iniya Pon Nilavae", and this was retained; K. J. Yesudas would sing it. "Ilaya Nila" was subsequently used in Payanangal Mudivathillai (1982). Like "Yen Iniya Pon Nilavae", the song "Paruva Kaalangalin" is also set in Natabhairavi.

Besides the long variation set Jockey stays lang at the Fair, which he played at Tynemouth, another tune associated with William, still commonly played, is now generally called Lamshaw's Fancy - however, in the Fenwick manuscript, this tune is called Lamshaw of North Shields' Fancy, associating it specifically with young William Lamshaw, rather than his grandfather, old William Lamshaw, who had lived in Morpeth. The range of the tune, from D to a, supports this, as it exceeds the single-octave compass of the unkeyed instrument; the keyed instrument had not been invented in old William Lamshaw's lifetime.

While the anthem mostly used Ellerbrock's music, it was also set to the tune of the British national anthem, "God Save the Queen". Because of this association, as well as a perceived lack of originality, “God Save the South” was criticized in Southern Punch, a weekly periodical modeled after Britain’s Punch. C. T. De Cœniél also wrote another tune for "God Save the South" after Ellerbrock's original, which gained popularity at the time. The fifth verse has been used by one writer as an example of the citizens of the Confederacy's perceived affiliation with George Washington, as he was also considered to be a rebel during the American War of Independence.

The earlier session was a quintet with David Schildkraut on alto saxophone, and produced the three tracks on side two. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. Two of these tracks were originally released on the 10" LP Miles Davis Quintet, Prestige PRLP 185. The earlier release also included "I'll Remember April", recorded at the same time, now found on the Prestige album Blue Haze (PRLP 7054).April 3, 1954 Session Details, Miles Ahead: A Miles Davis Website, accessed May 26, 2014 Another tune from this session, "Love Me or Leave Me," was previously unreleased and substituted here for "I'll Remember April.

149 In March 1957, the duo began working in Paris. When Chevalier, who already had agreed to appear in the film, first heard "Thank Heaven for Little Girls", he was delighted. When he discussed his waning interest in wine and women in favor of performing for an audience in cabarets, Chevalier inadvertently inspired the creation of another tune for his character, "I'm Glad I'm Not Young Anymore". The lyrics for another of his songs, the duet "I Remember It Well", performed with Hermione Gingold as his former love Madame Alvarez, were adapted from words Lerner had written for Love Life, a 1948 collaboration with Kurt Weill.

This is the tune that Joan Baez popularized as "Silkie" in the early 1960s. Although Jean Redpath disparaged Water's tune as "phony", preferring a longer version of Child 113 to another tune, by 1965, Jim Butler had heard Waters' tune sung by a Scottish student at the University of British Columbia, unaccompanied in the traditional style, and under the impression that he had learned it from his grandfather. "This has to be one of the most flattering things that has ever happened to me", added Waters, who eventually copyrighted his version and assigned it to Folk Legacy Records. Folk Legacy reassigned all copyright interest to James Waters in August, 2012.

" Musically, the song was originally closer to a soul style. Lowe later said, “Initially... the inspiration was a song I loved by Harold Melvin & the Blue Notes called, 'The Love I Lost', and the bass line was the same... we loved that Philly disco stuff from the 70's, The O'Jays, all that stuff, we loved that... I can't really remember much about recording it. It was just another tune that we did, you know, and I sent it over to New York to Gregg and said, Uhh, will this do? In more recent live versions, Lowe has performed the song closer to "The Love I Lost"; he explained, "How I do it now sounds quite different.

Some nursery rhymes are included, perhaps for the benefit of a young pupil. One variation set on "Sir John Fenwick's the Flower amang them", needing a keyed chanter, corresponds to that found in the Rook manuscript, and may derive from the Reid family, who lived nearby in North Shields; another tune in Stanton's hand "Shew's the way to Wallington", is identical to a version in the Fenwick manuscript, there stated to be James Reid's copy. Scans of two of the Stanton pages in the Fenwick manuscript are at , and ; these are for unkeyed and keyed chanter respectively. These tunes are in relatively simple versions, suitable for someone learning the instrument, suggesting that Fenwick studied the instrument with Stanton.

It appears to be related to the style of Gaelic art music now known as "piobaireachd" (piping) or more correctly as "ceol mor" (big music). There are a number of interesting variations, including a jig. Another tune associated with him is "Bas Alasdair" (Death of Alasdair), a majestic and moving harp dirge of the ancient style of Gaelic "high art" harping that was soon to be lost. This was recorded and annotated by at least the 18th century, and a version occurs in one of Captain Francis O'Neill's books ("Irish Folk Music, A Fascinating Hobby") Ann Heymann, the harpist and folklorist, has recorded a set consisting of the air “Bas Alasdair” and “Marsial Alasadair” that dates from the mid seventeenth century and is still performed.

Capel Rhondda, Hopkinstown John Hughes wrote the first version of the tune, which he called "Rhondda", for the Cymanfa Ganu (hymn festival) in Pontypridd in 1905, when the enthusiasm of the 1904–1905 Welsh Revival still remained."Caniadau'r Diwygiad", Noel Gibbard, 2003, The present form was developed for the inauguration of the organ at Capel Rhondda, in Hopkinstown in the Rhondda Valley, in 1907. Hughes himself played the organ at this performance, using the English translation of William Williams' words perhaps because of the large number of English-speaking industrial workers who had migrated to the area. The name was changed from "Rhondda" to "Cwm Rhondda" by Harry Evans, of Dowlais, to avoid confusion with another tune, by M O Jones.

Horace Silver and the Jazz Messengers was the first 12" Blue Note album released under Silver’s name. The album is a reissue of two previous 10" LPs -- Horace Silver Quintet (BLP 5058) and Horace Silver Quintet, Vol. 2 (BLP 5062) -- and the first sessions in which he used the quintet format which he would largely use for the rest of his career. The music on the album mixes bebop influences with blues and gospel feels. One of the most successful tunes from the album, "The Preacher", was almost rejected for recording by producer Alfred Lion, who thought it was "too old-timey", but reinstated at the insistence of Blakey and Silver, who threatened to cancel the session until he had written another tune to record in its place if it wasn’t included.

In August 1956, they played the Brooklyn Paramount with Fats Domino and Big Joe Turner, after which they appeared with Freed in the Vanguard movie Rock, Rock, Rock, in which they played the title song, and another tune called "The Big Beat," (that's Joe Marillo in the movie on second sax). The movie was released December 5, 1956, and the House Rockers played Harlem's Apollo Theater at the same time to promote the movie's release. In the 10-day extended gig, the House Rockers were augmented by a big band of veterans of the Duke Ellington and Count Basie orchestras, led by Sam The Man Taylor. Playing the Apollo in December 1956 put the House Rockers in the books as being the first white rock 'n' roll act to play the celebrated Apollo Theater (Buddy Holly would play there in 1957).

Upon being left to eat his meal, Bean realizes that he ordered a steak tartare, whereupon he becomes disgusted by the meal upon tasting a bit of it and being forced to swallow the first bite so as to avoid upsetting the restaurant staff. Seeking to avoid eating the rest of it, Bean cuts it up and sticks bits of the meal in random places on his table. First, he hides some of it in an ashtray then a tiny flower vase, before hollowing out a portion of the bread roll on his table and using the hollow to hide more of the meal, before sliding some under a small plate, and another portion within the base of a sugar bowl. Shortly after this, a violinist (Steve McNicholas) walks towards his table and, spotting his card, plays "Happy Birthday" for him, before playing another tune, holding on a note until Bean eats another piece of steak.

Mood wavers for "Soy Un Loco Sincero", a melody with which Camilo, on the precarious edge of 40, appears to need to be homologated with the music of the most youthful. Another tune that merits a mindful ear is "Cuando Digo Que No", a song in the typical style of the artist, however all around deciphered and with a decent instrumental execution behind an elucidation that helps us to remember the huge Camilo of his first years of solo vocation. It is likewise important to cite that "Mientras Mi Alma Sienta", Free and libertine adaptation of the proverb of the extravagant writer Albinoni and a standout amongst other known bits of established music ever. Camilo tries to put letter and voice to a prominently instrumental piece, acquiring an epic pen and an absence of thought with the great one of Wear Tomaso Albinoni, that nothing terrible had done to him nor, we assume, to his predecessors.

She earned her first call up to the Super Falcons in February, 2015 when coach Edwin Okon invited 36 players to camp to prepare for the 11th All- Africa Games qualifiers, 2016 Olympic Games qualifiers and the 7th FIFA Women’s World Cup finals. The Economics and Actuarial Science undergraduate at the University of Southampton had to skip the first two weeks of the camp in Abuja due to her studies. On arrival after two weeks, promising Umotong got her first taste of action almost immediately as a late substitute in a warm-up 1–1 draw against a male academy team, showing true dedication in her quest to make the team for Canada 2015. She followed it up with a goal when she came on for 20 minutes in another tune-up match against Nigeria Women Premier League side, Confluence Queens, before becoming the first Portsmouth player to feature in a full international after making her 33-minute debut for Nigeria in the first leg of their All-Africa Games qualifier against Mali in Bamako.

While he lived some 80 miles from their home in North Shields, communication would have got much easier after 1837, when the Newcastle & Carlisle Railway opened between Gateshead and Carlisle. Another tune, called Captain Fenwick here, Sir John Fenwick's the Flower amang them in Northumberland, and Mary Scott, the Flower of Yarrow in Scotland, appears in a 7-strain version, again with notes beyond the single octave compass of the unkeyed pipes; the same version also appears in the Antiquaries' manuscript, as well as a manuscript of tunes compiled in 1872 by the Northumbrian artist Joseph Crawhall II, while its first 4 strains appear in the somewhat earlier Robert Bewick manuscript. It thus seems that an older single octave 4-strain version which was known to Bewick, was elaborated before 1840 by some other piper, possibly one of the Reid family, to use the extra compass of the keyed chanter. As Robert Reid was the principal developer of the modern keyed instrument, it would have made sense for him or his children, pipers themselves, to compose extra strains to existing pipe music exploiting the instrument's increased range.