I have one for you. Anderson Paaks- Come down and a unknown band out of Atlanta called “HEAVY MOJO-RADIO… Tell me what you think! Radio came out in 2006…
Funny how it's same progression as In The End, a song that is so melancholy, yet those are so saccharine. Melody and tempo can really dictate the feel. Those three feel "major" to me.
It depends on the specific subgenre. Bebop style jazz often sees a lot of chord changes and this contrasts with modal jazz and modal music in general. For example “So What” by Miles Davis has 2 chords for A-section.
Thank you for all you do here David, you've really helped me understand the music I hear and why it makes me feel the way it does, now I can do that I can play better and I can compose better. Most of my teachers weren't able to explain music to me the way I needed it explained so I've waiting most of my life for a resource like this. I just made some buns so having them with tea, will watch this and then play my guitar. Love and Grüßen from Germany.
I just turned 40....and even I don't believe it. My only advice? Just DO what you want. Time is on your side. Don't take it for granted. Have fun. Be free. Do whatever you want. You can. :)
Loving the First of October t-shirt! Great idea for a video, too. There are tons of videos about the more obvious chord progressions, it's refreshing to see you cover more interesting ones.
I’ve listened to I Bet That You Look Good on the Dancefloor and In the End countless times but never realized they share the same progressions as Jolene and Polly so that was cool to know, also love that First of October short. Love those guys, Rob and Andrew always create such killer songs
The "She Loves You" progression also shows up in Til I Hear It From You, co-written by Beatles fan Marshall Crenshaw and recorded by Gin Blossoms. Big song in the 1990s.
Thanks for explaining the rationale for the use of flats in the chord naming. It always confused me before, but your exposition cleared things immensely. It makes so much more sense now!
I have been waiting and hoping for you to cover the first chord in this video!! It is my ultimate favorite chord progression in a song. Anytime I hear it I instantly fall in love. I even have a spotify playlist dedicated to it. Some of my favorites with it are Primetime by Janelle Monae, Disparate Youth by Santigold, In My Place by Coldplay, and recently Lay Low by YooA.
@@tiia-liisakansakangas9569 Nostalgic and bittersweet is EXACTLY how I would describe it. Like your heart is full of love and longing. To name a few more: Make Love by Daft Punk, It's Not Over Yet by Klaxons, and Amber by 311.
Three popular chord progressions in dance music (especially in the 90s) (and ones that I love) are (in Cm): Cm-Cm-Ab-Bb, which is similar to the Japanese chord progression you highlighted earlier. See "Sweet Dreams" or "Be My Lover", both by La Bouche, and the beginning of Ace of Base's "The Sign", for examples of this. The next one is more complicated because of how many voicings of the chords you can have. At its root in Cm the chords are : Cm-Ab-Eb-Bb. My favourite way is C-Eb-G - C-Eb-Ab - Bb-Eb-G - Bb-D-F, with the bass notes C-Ab-Eb-Bb. Check out Aqua's "Roses Are Red", parts of Fun Factory's "Close To You" and the chorus to Lordi's "Hard Rock Hallelujah" for example. The last progression I'll touch on is one you mentioned in your circle of fifths video (in Am), Am-Dm-G-C. An obvious one for this is Real McCoy's "Another Night", ocasionally changing to Am-Dm-G-C-D in a syncopated way so the last two chords fit in the last bar) and sometimes a vamp of Am-G. One of the people who wrote it told me it was added to avoid sounding too much like the Coca-Cola jingle lol. A less well-known example is Ace Of Base's "Beautiful Life", which, in Cm, is Cm-Fm-Bb-Eb-G7, with Eb & G7 sharing a bar. Sometimes in the verse Eb is skipped, so it just goes Cm-Fm-Bb-G7-G, where G seventh and G major share the last bar of the chord progression. Later on in the song the chord progression switches up and at the end is a choir that has different intertwining parts to tie everything together. Dance music has limited range sometimes but that just makes the producers find new ways to alter the energy level and up the beat of the song and the melodic structure to make it more interesting or catchy, or even to showcase a particular singer. Nana Hedin sang lead or in the chorus for many dance tracks. She also sang background for many pop tracks, including Céline Dion, Aqua, Ace of Base, Dr Alban, E-type, Stakka Bo, Britney Spears, A*Teens, and had some solo hits as well. But she developed stage IV tongue cancer. On the day she was declared cancer-free they also delivered the bad news that her jawbone was literally dissolving from all the radiation treatment for the cancer and she needed money for further treatment. You can check out her web page for more answers and how to donate if you'd like: nanahedin.com/. I hope your day is well! ^_^ I am up way too early currently; I'm supposed to be on concussion protocol bedrest...oops...oh well... I just cannot sleep anymore! And I'm ahead of you here in Finland, too. See you in another video.
Really appreciate your actually giving chord names in C and numerals . Using numerals l understand but my brain races to keep up whilst you're talking. Well done your analysis has really improved my writing
If you swap the first and last chords from the She Loves You progression, you get the Starlight progression in another key, it's the next key on the circle of fifths
I'd appreciate more examples from the 60s and 70s, please! Thanks for that enlightening bit at the end regarding 'flattening' chords in the minor key! I was always curious about this style of notation.
Not sure whether this is a key change or chord progression, but I really love how in "Gone Hollywood" (Supertramp) it goes from noodling around on Cmin for a while to the suddenly very uplifting Bmaj7, Abmin9, Eb
Mozart has shown me the way to include all 6 degrees of the major scale in one progression. As I was thinking of the "axis", this passage near the end of Mozart's Symphony No.33 pops up in my head: just before the last 5 bars entirely built on I, the previous 3 bars go I V vi iii IV ii V. Now I can use that progression in a song to make it fancier than anything I've ever written until now!
The 'Polly' progression is also used in Ennio Morricone's famous spaghetti Western piece 'The Ecstacy of Gold' (as I just found out by trying to write a song using it).
You are definitely one of the people to teach me the most in music theory. Plus you inspired me to create own music. I write the because I am really thankful for it. Two days ago I finally uploaded my first musicals video.
A big hit with the She Loves You - progression would be Save Your Tears by The Weeknd! Edit: Also, I was so surprised that Hello by Adele wasn't mentioned in the Polly-progression, it has Em - G - D - C
Wrecked by Imagine Dragons is also a great one for the last progression. And with In the End, I've always heard it in Bbm/Db more than Ebm, so it would have been more like ii-IV-I-bVII, or iv-bVI-bIII-bII if you're a masochist
David, It's obvious there is a prodigious amount of work you put into your videos (and your other projects). I hope that it translates into a good income for you. It IS a job!!! Hat's off to you...mine is.
Hi David, I'm a guitar player since 20years..and you just made me understand plenty of theory things ( I never took music lessons btw ). Your content and the way you explain it is flawless. I will definitly dig every video. Thanks for sharing your talent 👍👍🤘🤘
Surprisingly similar story to me! Been playing guitar 20 years and have ignored theory. I’m trying to finally learn it and David’s videos are very helpful with the examples!
Thank you for using roman numerals in this way as it is way more clear what the tonality is and stating it explicit avoids confusion and (as a bonus) it is also transferable to other modes!
Closest thing I ever got to composing a 4 chord loop song used the chords I - V - bVII - IV, so a variation of the I - V - vi - IV. One thing that I noticed about the two major scale ones you mentioned was that they went through the circle of fifths in the "opposite" direction (Am > Em and not E(m) > Am). Maybe that's why they're less common but IDK. But I'll see those loops and raise you |I | iii vi | ii | V | :) Even |I |VII iii | vi ii | V | but that'd be borrowing a chord from another key as would | I | (bVII) bIII | ii | V | Oh, and since 15 comes after 13 in uncommon time signatures, I believe that Karn Evil 9 by Emerson, Lake & Palmer uses 15/16 in certain parts.
And by the way - it‘s incredible how you come up with all the examples! And an eye-opener, eg that the Halo - progression is the same as the one in Be with you from the Cranberries!
I feel so proud that I understood every word of your music theory intermezzo at te end. I even wondered it myself a minute earlier. I've been into music for only 2 or 3 years now but I feel like I've come so far with teaching myself all the theory. Everything clicks bit by bit!
2:50 Cranberries' Ode to My Family actually has a very similar chord progression, except the V chord at the end is replaced with the IV chord, so it goes I-vi-iii-IV
That vi - iii movement is nice. Only one shared tone, and it happens to be the root of the next chord. Opens up some serious inversion possibility. Same with the ii - vi and bIII - bVII. Pretty sure Halo is I - ii7 with the A being held at the bottom of the treble chord during the arpeggio.
As a simple-minded penguin, I'd say "it's a 6156", but might say "1371 in A minor". Roman numerals should be consigned to history. If you know what triads are in a key, you don't need to use upper- and lower-case Roman numerals. The 'friendlier' Arabic numbers are quite sufficient. (After all, when you say it out loud, you don't say "It starts on a lower-case vi...", you just say "Six".)
In the Poly progression you used an example of Levels by Avicii, and Good Feeling by Flo Rida. I legitimately thought these were the same song. I've only ever heard them playing in the background at the shops or something, so I had no idea who it was by.
I would add another less common minor key chord progression. i - bVII - bIII - bVI This chord progression has such a very energetic bright sound to it. And that is probably because of the tonicization of the bIII chord, making it feel like you switched to a relative major key then crashing down to a minor tonality.
Maybe it’s technically not correct but I tend to think of those minor progressions in terms of the relative major. Which makes them simply vi I V IV or vi I V vi. I guess that’s not precise because the song is in the minor key and resolving to that minor vi chord, but in terms of thinking and knowing the chords quickly on the fly, it’s a lot easier!
yea i agree about using only the major system instead of giving "new numerals". For example: C Dm F G = I ii IV V Am Dm F G = i iv VI VII I mean... except the first chord, all remaining chords are the same and its clear how they connect to each other. These connections are getting weird if we are in minor key: i iv VI VII... like WHAT? So we do that to each key? For example (mixolydian): D Am C G = I v VII IV... I'm sorry for saying, but this isn't making sense. Wouldn't it be clear if it was just: V ii IV I ?
So many great opportunities for mashups with some of these. I did a remix of Halo by Beyoncé and couldn’t resist putting the Muse Starlight piano riff in the last chorus 😁
First two are super smooth, they have relative major-minor pairs. First one does the change between relative chords whenever it crosses the major/minor borders, you just can't get any smoother.
It's funny David said that the second progression kinda sounds like the Axis Progression because Benny (the Axis pianist) made a Six Chords video which changes one thing every so few songs to go through even way more pop songs and it's the song I use as a warm up and the progression did immediately feel familiar to me because of it.
9:25 At that point, every Roman numeral sould be in capital letters as well, given that we assume every chord is diatonic to the minor scale, so there's no need to specify major and minor with uppercase or lowercase letters.
Thanks for clarifying why you put the flat symbols, at the end of the video. Personally I feel like the minor i looks obvious enough to know that we’re talking about me instead of mi, but it makes sense to put the flat to discern in case we’re flipping between minor and major, for example. I once watched one of your videos and was so confused 😭 so thanks
I definitely think of scales based on the major. When I see the flats with roman numerals, I already know the scale(s) for that progression. Keep an eye on the root of the chords, and know the scale, and you're gold.
Interesting video as always. Personally though, I find it counterintuitive and hard to read the roman numerals as you used them here in the minor key progressions, when they are completely diatonic. Flat or sharp signs are generally used to refer to non-diatonic notes/chords, and it adds confusion if that's not the case. In standard notation you have the eventual sharps or flats at the beginning of every line to make everything more readable. So, If I had to write a progression using roman numerals for a minor song, I'd reference to the aeolian scale. If necessary to change the scale due to a modulation, I'd do that and add a note about that in sone way, like modulations are generally written out in standard notation, i.e. with a new set of sharps or flats.
As usual, your work is over my head... but it means a great deal to me that the patterns of music CAN be analyzed and that someone would DO SO, for me. Thank You.
Just out of curiosity: How are you able to come up with half a dozen of song examples for each chord progression without spending a month of research? Is there an online database where you can actually search by type of chord progression?
If your ear is tuned to relative chord progressions, and you know a lot of songs, you just start to think of the songs. I could name a few songs more for a few chord progressions on the top of my head for some of these.
A database like that seems like it could and should exist. There's so much sheet music, chord charts, tablature etc in digital form. From a technology perspective it is absolutely possible to create. But does it actuall exist? If it does I'm not aware.
@davidbennettpiano I really appreciate your re-explanation at the end of the video. I remember you touched on that matter previously. It's now clearer for me and perhaps for others. 🙏
I was thinking about this, and this video made me think of it further. I've always thought that jazz musicians and metalheads/experimental/electronic musicians (my end of things) should get along a lot better than they do. I think a big part of that seemingly unbridgeable gulf is the fact that we just can't translate between major and minor. Jazz still defaults to thinking about things in terms of the minor scale, but on my end of things, since we spend so much time in the minor scale, we default everything in our brains to minor key instead of major. I realized this when I started writing electronic music, after starting on bass and guitar in metal, I realized how much you see music (in general) not only in the terms of type of music you listen to and write, but also in what instrument you play. One day, we will finally learn to translate between major and minor, and then jazz and metal will finally be able to speak. And we'll all be able to use the locrian scale while the rest just look on. 🙂
I love your work! A lot of the musicians I’ve worked with in Nashville will do the numerals of a minor key based on the relative major scale. So the last progression could be vi, I, V, vi
Hi David, great video. I’m curious how you find the songs to use as examples in your videos. Do you know of these songs and their progressions off the top of your head? Do you use some sort of tool? Surely there must be some method to categorizing your examples
On the topic of minor key roman numerals: Is it also correct to use the relative major as a point of reference? For example, I'd like to think of i bIII bVII i as vi I V vi, with the understanding that vi is the tonic chord. That way I immediately know where my fingers would go on a guitar. Whereas if I see bIII and bVII, I'd panic and take time to figure out what the chords actually are.
I'd like to know this too. Like you i use to think in terms of the relative major o even greek modes where "i bIII bVII i" is "vi I V vi", as you said, but also Aeolian, Ionian, Mixolydian, Aeolian... so yeah Idk
i think you can go either way. if i see "I - bVII" or "V - IV" i'm generally gonna figure out pretty quickly that it's probably a mixolydian progression. use whatever you're most comfortable with!
Very nice! I noticed that She Loves You is Tonic-Tonic-Tonic-Dominant. So probably that's why it feels strange. It's like three bars with the same chords, with only slight changes.
Thanks for making my confusion go away at the end of the video! I was wondering why you write the roman numbers small or big, accompanied by flats in front of the numbers etc... now everything's clear :) Can you maybe do a video describing the different types of musical analysis, regarding chord progressions? I learned at musicology the 'german' way of analysing (Stufentheorie/Funktionstheorie), e.g. T (tonica in major) is equivalent to I, or t (tonica in minor) is equivalent to i, etc... Would be super helpful! :) thank you!
Check out the Glarry GDP-104 Digital Piano at these links 🎹 UK: bit.ly/3CUTQdU
US: bit.ly/3w8JGCx
PROMO CODE: DavidPiano
Could you try recreating the Abbey Road medley sometime? Someone commented on your "I Recreated ADITL From Scratch" video about that too.
You forgot "Runaway Train" by Soul Asulym from the first chord progression.
I have one for you. Anderson Paaks- Come down and a unknown band out of Atlanta called “HEAVY MOJO-RADIO… Tell me what you think! Radio came out in 2006…
bummer! the code expired and they just got the piano back in stock!
Love how the sequence of Counting Stars, Levels, and Good Feeling could literally be one continuous song lol
Someone needs to make a video where they’re edited together like that
If I'm not mistaken, I think Levels and Good Feeling were sampled together on another song.
@@skeletonkeybindery3936 levels and good feeling use the same vocal sample
Funny how it's same progression as In The End, a song that is so melancholy, yet those are so saccharine. Melody and tempo can really dictate the feel. Those three feel "major" to me.
@@DCJayhawk57i mean they do have 3 major chords in them, the instrumentation and the melody really does help in the end feel dreary
"Rock musicians play 3 chords to thousands of people, jazz musicians play thousands of chords to 3 people" Is that old joke true or false?
It depends on the specific subgenre. Bebop style jazz often sees a lot of chord changes and this contrasts with modal jazz and modal music in general. For example “So What” by Miles Davis has 2 chords for A-section.
Absolutely true
True😁
Neither. It's funny.
@@dewitt.powersthis is the correct answer
Thank you for all you do here David, you've really helped me understand the music I hear and why it makes me feel the way it does, now I can do that I can play better and I can compose better. Most of my teachers weren't able to explain music to me the way I needed it explained so I've waiting most of my life for a resource like this. I just made some buns so having them with tea, will watch this and then play my guitar. Love and Grüßen from Germany.
That’s great to hear! I’m really glad you find the videos helpful 😊
I hope the buns were tasty.
@@klaxoncow Well I got one haha! The kids and hubby ate the rest 🙂
I just turned 18 and this year is gonna be the biggest year of my life with music. Manifesting it into reality
😊😊
I’m 33 years old . I hope your life is full of great adventures with beautiful music
I just turned 40....and even I don't believe it.
My only advice? Just DO what you want. Time is on your side. Don't take it for granted.
Have fun. Be free. Do whatever you want. You can. :)
Hope u don’t do generic mumbles about money and drugs like everyone does
The transitions between songs are immaculate!!
😊😊😊
Loving the First of October t-shirt!
Great idea for a video, too. There are tons of videos about the more obvious chord progressions, it's refreshing to see you cover more interesting ones.
I’ve listened to I Bet That You Look Good on the Dancefloor and In the End countless times but never realized they share the same progressions as Jolene and Polly so that was cool to know, also love that First of October short. Love those guys, Rob and Andrew always create such killer songs
The "She Loves You" progression also shows up in Til I Hear It From You, co-written by Beatles fan Marshall Crenshaw and recorded by Gin Blossoms. Big song in the 1990s.
I'm so glad you highlighted the "Starlight" progression. Possibly my favorite ever.
Love how the 4th progression is used in bangers.
Thanks for explaining the rationale for the use of flats in the chord naming.
It always confused me before, but your exposition cleared things immensely.
It makes so much more sense now!
Glad it was helpful!😊
That song you wrote at the end gave me chills, really beautiful.
I have been waiting and hoping for you to cover the first chord in this video!! It is my ultimate favorite chord progression in a song. Anytime I hear it I instantly fall in love. I even have a spotify playlist dedicated to it. Some of my favorites with it are Primetime by Janelle Monae, Disparate Youth by Santigold, In My Place by Coldplay, and recently Lay Low by YooA.
i just realized save your tears by the weeknd also uses that progression. and now i'm going to use it in the next song i write! cheers!
And, to go back a few decades, it’s Love is All Around by the Troggs.
Same with me, I have always enjoyed and loved this chord progression. It’s somehow nostalgic and bittersweet.
Edit: spelling
@@tiia-liisakansakangas9569 Nostalgic and bittersweet is EXACTLY how I would describe it. Like your heart is full of love and longing. To name a few more: Make Love by Daft Punk, It's Not Over Yet by Klaxons, and Amber by 311.
@@SannaKore Absolutely! I have to listen to those songs as well, thanks for the tip 😍
Three popular chord progressions in dance music (especially in the 90s) (and ones that I love) are (in Cm): Cm-Cm-Ab-Bb, which is similar to the Japanese chord progression you highlighted earlier. See "Sweet Dreams" or "Be My Lover", both by La Bouche, and the beginning of Ace of Base's "The Sign", for examples of this. The next one is more complicated because of how many voicings of the chords you can have. At its root in Cm the chords are : Cm-Ab-Eb-Bb. My favourite way is C-Eb-G - C-Eb-Ab - Bb-Eb-G - Bb-D-F, with the bass notes C-Ab-Eb-Bb. Check out Aqua's "Roses Are Red", parts of Fun Factory's "Close To You" and the chorus to Lordi's "Hard Rock Hallelujah" for example. The last progression I'll touch on is one you mentioned in your circle of fifths video (in Am), Am-Dm-G-C. An obvious one for this is Real McCoy's "Another Night", ocasionally changing to Am-Dm-G-C-D in a syncopated way so the last two chords fit in the last bar) and sometimes a vamp of Am-G. One of the people who wrote it told me it was added to avoid sounding too much like the Coca-Cola jingle lol. A less well-known example is Ace Of Base's "Beautiful Life", which, in Cm, is Cm-Fm-Bb-Eb-G7, with Eb & G7 sharing a bar. Sometimes in the verse Eb is skipped, so it just goes Cm-Fm-Bb-G7-G, where G seventh and G major share the last bar of the chord progression. Later on in the song the chord progression switches up and at the end is a choir that has different intertwining parts to tie everything together. Dance music has limited range sometimes but that just makes the producers find new ways to alter the energy level and up the beat of the song and the melodic structure to make it more interesting or catchy, or even to showcase a particular singer. Nana Hedin sang lead or in the chorus for many dance tracks. She also sang background for many pop tracks, including Céline Dion, Aqua, Ace of Base, Dr Alban, E-type, Stakka Bo, Britney Spears, A*Teens, and had some solo hits as well. But she developed stage IV tongue cancer. On the day she was declared cancer-free they also delivered the bad news that her jawbone was literally dissolving from all the radiation treatment for the cancer and she needed money for further treatment. You can check out her web page for more answers and how to donate if you'd like: nanahedin.com/. I hope your day is well! ^_^ I am up way too early currently; I'm supposed to be on concussion protocol bedrest...oops...oh well... I just cannot sleep anymore! And I'm ahead of you here in Finland, too. See you in another video.
7:42 this one sound soooo sleek (since Good Feeling uses Levels as its core)
A large bulk of my songs are 1 6 3 5. The 3 gives it a mixed feeling of major and minor. It really reasonates with me.
Death's Lack of Comprehension uses this over the solo but adds a b2 after the 5, and is in a minor key. Works really well there
Came to the comments to say how much I love 1635. So beautiful.
Mary on a cross by ghost
Killer video David!!
Thanks Aimee 😊
Really appreciate your actually giving chord names in C and numerals . Using numerals l understand but my brain races to keep up whilst you're talking. Well done your analysis has really improved my writing
😊😊😊
I get so happy when any portion of any video is focused on "She Loves You."
If you swap the first and last chords from the She Loves You progression, you get the Starlight progression in another key, it's the next key on the circle of fifths
Man, I have to honest, You have completely changed the way I make music, Thank you.
Excellent 😀
1:30 Save Your Tears by The Weeknd also uses this progression.
Great video as usual! Another great song that uses the I - ii- vi- VI chord progression is “Help I’m Alive” by Metric…
And also "Shadow of the Day" by Linkin Park, during Chester sangs "and the sun will set for you" 😅
I'd appreciate more examples from the 60s and 70s, please!
Thanks for that enlightening bit at the end regarding 'flattening' chords in the minor key! I was always curious about this style of notation.
Not sure whether this is a key change or chord progression, but I really love how in "Gone Hollywood" (Supertramp) it goes from noodling around on Cmin for a while to the suddenly very uplifting Bmaj7, Abmin9, Eb
Mozart has shown me the way to include all 6 degrees of the major scale in one progression. As I was thinking of the "axis", this passage near the end of Mozart's Symphony No.33 pops up in my head: just before the last 5 bars entirely built on I, the previous 3 bars go I V vi iii IV ii V. Now I can use that progression in a song to make it fancier than anything I've ever written until now!
The 'Polly' progression is also used in Ennio Morricone's famous spaghetti Western piece 'The Ecstacy of Gold' (as I just found out by trying to write a song using it).
THE FIRST OF OCTOBER SHIRT 💪💪💪💪
😊😊😊
@@DavidBennettPiano Also wanted to shout out the tee. Big fan of Rob and Andrew's stuff
@@t1p1may0 me too! They are both LEGENDS!
I was just as happy to see that, love Rob and Andrew’s bans
Jolene, Polly, and First of October. Awesome.
The "Polly" chord progression brings back so much like 2012 nostalgia
You are definitely one of the people to teach me the most in music theory.
Plus you inspired me to create own music.
I write the because I am really thankful for it.
Two days ago I finally uploaded my first musicals video.
A big hit with the She Loves You - progression would be Save Your Tears by The Weeknd!
Edit: Also, I was so surprised that Hello by Adele wasn't mentioned in the Polly-progression, it has Em - G - D - C
I literally remembered “Hello” as I finished this video 😅 good suggestions 😊
@@DavidBennettPiano Great content as always though, love your work
@@DavidBennettPianoI was gonna say, “this sounds like Hello by Adele!” Lol
YESS I THOUGHT OF SACE YOUR TEARS TOO
Wrecked by Imagine Dragons is also a great one for the last progression. And with In the End, I've always heard it in Bbm/Db more than Ebm, so it would have been more like ii-IV-I-bVII, or iv-bVI-bIII-bII if you're a masochist
David,
It's obvious there is a prodigious amount of work you put into your videos (and your other projects). I hope that it translates into a good income for you. It IS a job!!! Hat's off to you...mine is.
Hi David, I'm a guitar player since 20years..and you just made me understand plenty of theory things ( I never took music lessons btw ). Your content and the way you explain it is flawless. I will definitly dig every video. Thanks for sharing your talent 👍👍🤘🤘
Surprisingly similar story to me! Been playing guitar 20 years and have ignored theory. I’m trying to finally learn it and David’s videos are very helpful with the examples!
Thanks for taking the time to explain the numerals and the ways of communicating them.
Thank you for using roman numerals in this way as it is way more clear what the tonality is and stating it explicit avoids confusion and (as a bonus) it is also transferable to other modes!
Such a explanation in the end! Always very didatic and attentive to details :)
Closest thing I ever got to composing a 4 chord loop song used the chords I - V - bVII - IV, so a variation of the I - V - vi - IV. One thing that I noticed about the two major scale ones you mentioned was that they went through the circle of fifths in the "opposite" direction (Am > Em and not E(m) > Am). Maybe that's why they're less common but IDK. But I'll see those loops and raise you |I | iii vi | ii | V | :) Even |I |VII iii | vi ii | V | but that'd be borrowing a chord from another key as would | I | (bVII) bIII | ii | V |
Oh, and since 15 comes after 13 in uncommon time signatures, I believe that Karn Evil 9 by Emerson, Lake & Palmer uses 15/16 in certain parts.
Yesss! Just the right video at the right time!
And by the way - it‘s incredible how you come up with all the examples! And an eye-opener, eg that the Halo - progression is the same as the one in Be with you from the Cranberries!
Great video as always. But main thing I wanted to point out - LOVE the first of october merch!
😃😃😃😃
I-vi-iii-V sounds great! I have also tried with I-vi-iii-vii°, which is i-VI-III-VII but with the mode changed to major.
I feel so proud that I understood every word of your music theory intermezzo at te end. I even wondered it myself a minute earlier. I've been into music for only 2 or 3 years now but I feel like I've come so far with teaching myself all the theory. Everything clicks bit by bit!
07:46-07:47 Well made transition, if you don't pay attention you don't even recognize the chance of song!
2:50 Cranberries' Ode to My Family actually has a very similar chord progression, except the V chord at the end is replaced with the IV chord, so it goes I-vi-iii-IV
That vi - iii movement is nice. Only one shared tone, and it happens to be the root of the next chord. Opens up some serious inversion possibility. Same with the ii - vi and bIII - bVII.
Pretty sure Halo is I - ii7 with the A being held at the bottom of the treble chord during the arpeggio.
For a song in a minor key, I generally notate it with reference to the relative major, so Jolene in Am would be vi, I, V, vi.
As a simple-minded penguin, I'd say "it's a 6156", but might say "1371 in A minor". Roman numerals should be consigned to history. If you know what triads are in a key, you don't need to use upper- and lower-case Roman numerals. The 'friendlier' Arabic numbers are quite sufficient. (After all, when you say it out loud, you don't say "It starts on a lower-case vi...", you just say "Six".)
In the Poly progression you used an example of Levels by Avicii, and Good Feeling by Flo Rida. I legitimately thought these were the same song. I've only ever heard them playing in the background at the shops or something, so I had no idea who it was by.
Levels samples Good Feeling so you aren’t going delusional.
Really great selection of chord progressions. This is some of your finest work!
Thanks a lot!
Thanks for the nostalgic reminder of 1234, completely forgot about that song
Merci for that explanation, and teaching moment.
You are welcome!
OMG THANK YOU for mentioning the Stone Roses! One of those hidden gems for sure, deserve way more love!
I love that song!!
I had a giggle imagining Ian Brown segueing into Jolene during an extended version of Fool's Gold.
I would add another less common minor key chord progression.
i - bVII - bIII - bVI
This chord progression has such a very energetic bright sound to it. And that is probably because of the tonicization of the bIII chord, making it feel like you switched to a relative major key then crashing down to a minor tonality.
That's the "Axis" chord progression starting on the 3rd chord. I think David has mentioned it before.
Oh yaa. It seems easier to think of it as:
vi - IV - I - V
Major key
Reminds me of heart of gold by Neil young
@@mat992 No, swap out the V and IV
“Save your tears” from The Weekend uses the first example (I - vi - iii - V) in the verse. Love your chord progressions videos!
Maybe it’s technically not correct but I tend to think of those minor progressions in terms of the relative major. Which makes them simply vi I V IV or vi I V vi.
I guess that’s not precise because the song is in the minor key and resolving to that minor vi chord, but in terms of thinking and knowing the chords quickly on the fly, it’s a lot easier!
I do that sometimes too! Particularly if the minor key songs is in natural minor rather than harmonic minor, it can make a lot of sense 😊
yea i agree about using only the major system instead of giving "new numerals". For example:
C Dm F G = I ii IV V
Am Dm F G = i iv VI VII
I mean... except the first chord, all remaining chords are the same and its clear how they connect to each other. These connections are getting weird if we are in minor key: i iv VI VII... like WHAT?
So we do that to each key? For example (mixolydian): D Am C G = I v VII IV... I'm sorry for saying, but this isn't making sense. Wouldn't it be clear if it was just: V ii IV I ?
So many great opportunities for mashups with some of these. I did a remix of Halo by Beyoncé and couldn’t resist putting the Muse Starlight piano riff in the last chorus 😁
First two are super smooth, they have relative major-minor pairs. First one does the change between relative chords whenever it crosses the major/minor borders, you just can't get any smoother.
It's funny David said that the second progression kinda sounds like the Axis Progression because Benny (the Axis pianist) made a Six Chords video which changes one thing every so few songs to go through even way more pop songs and it's the song I use as a warm up and the progression did immediately feel familiar to me because of it.
Absolutely love the last progression
These chord progression are amazing. Many thanks for sharing.
You’re explanations of theory are so good. You’ve helped me so much. Mahalo Nui Loa.
Happy to hear that!
It's interesting that all of these progressions feel sentimental
9:25 At that point, every Roman numeral sould be in capital letters as well, given that we assume every chord is diatonic to the minor scale, so there's no need to specify major and minor with uppercase or lowercase letters.
Thanks for clarifying why you put the flat symbols, at the end of the video. Personally I feel like the minor i looks obvious enough to know that we’re talking about me instead of mi, but it makes sense to put the flat to discern in case we’re flipping between minor and major, for example. I once watched one of your videos and was so confused 😭 so thanks
Your videos, though I've been playing about 50 yrs, are so damn interesting! Please keep going! I'd be a patron if I could afford it.
No! I really would!
I definitely think of scales based on the major. When I see the flats with roman numerals, I already know the scale(s) for that progression. Keep an eye on the root of the chords, and know the scale, and you're gold.
Yessss love the First of October shirt!!
I thought music theory was a waste of time for a while, but your channel changed my mind.
😊😊😊
Wow unreal! Would love to recommend another chord progression video: The Happier Than Ever progression
Man I enjoy your videos. I am amused every time plus I learn.
I think the Jolene progression was used also in "Rose Tattoo" by the Dropkick Murphy's
The song, Until I Hear It From You, by Gin Blossoms, uses the first progression you mentioned, 1, 6, 3, 5.
My favorite "She Loves You" progression song is "Faster Than The Setting Sun" by Fyfe Dangerfield. I think you're gonna like it, David!
Interesting video as always. Personally though, I find it counterintuitive and hard to read the roman numerals as you used them here in the minor key progressions, when they are completely diatonic. Flat or sharp signs are generally used to refer to non-diatonic notes/chords, and it adds confusion if that's not the case. In standard notation you have the eventual sharps or flats at the beginning of every line to make everything more readable. So, If I had to write a progression using roman numerals for a minor song, I'd reference to the aeolian scale. If necessary to change the scale due to a modulation, I'd do that and add a note about that in sone way, like modulations are generally written out in standard notation, i.e. with a new set of sharps or flats.
Great video as always! You should do a common RnB and jazz progressions video for those of us that crave a little more progressive info
Thanks for all of the content! Keep up the good work! 👍
another excellent video, thank you,David.
Thank you for all your videos! You rock!
Thanks for the great explanation in the end...
As usual, your work is over my head... but it means a great deal to me that the patterns of music CAN be analyzed and that someone would DO SO, for me. Thank You.
Just out of curiosity: How are you able to come up with half a dozen of song examples for each chord progression without spending a month of research? Is there an online database where you can actually search by type of chord progression?
Much chances he just ask his community on social networks
If your ear is tuned to relative chord progressions, and you know a lot of songs, you just start to think of the songs. I could name a few songs more for a few chord progressions on the top of my head for some of these.
A database like that seems like it could and should exist. There's so much sheet music, chord charts, tablature etc in digital form. From a technology perspective it is absolutely possible to create.
But does it actuall exist? If it does I'm not aware.
David has promoted Hook Theory before. I presume he uses that app's database for help and inspiration at least in part.
@davidbennettpiano I really appreciate your re-explanation at the end of the video. I remember you touched on that matter previously. It's now clearer for me and perhaps for others. 🙏
I was thinking about this, and this video made me think of it further. I've always thought that jazz musicians and metalheads/experimental/electronic musicians (my end of things) should get along a lot better than they do. I think a big part of that seemingly unbridgeable gulf is the fact that we just can't translate between major and minor. Jazz still defaults to thinking about things in terms of the minor scale, but on my end of things, since we spend so much time in the minor scale, we default everything in our brains to minor key instead of major. I realized this when I started writing electronic music, after starting on bass and guitar in metal, I realized how much you see music (in general) not only in the terms of type of music you listen to and write, but also in what instrument you play. One day, we will finally learn to translate between major and minor, and then jazz and metal will finally be able to speak. And we'll all be able to use the locrian scale while the rest just look on. 🙂
The beatles used the first chord progression in the most exciting way.
I liked that bit of music you played at the end. Very nice....👍❤️
Thank you very much
Aww hell yeah, David rocking the First of October tee
Thanks again David for another insightful video!!
Glad you enjoyed it😊😊
@5:31--why are C and G noted as 'flat' --bIII, bVII? Thank you!!
I explain that at the end of the video 😊
I love your work! A lot of the musicians I’ve worked with in Nashville will do the numerals of a minor key based on the relative major scale. So the last progression could be vi, I, V, vi
From Little Things Big Things Grow by Paul Kelly is another example of the I-vi-iii-V progression (C-Am-Em-G)
Hi David, great video. I’m curious how you find the songs to use as examples in your videos. Do you know of these songs and their progressions off the top of your head? Do you use some sort of tool? Surely there must be some method to categorizing your examples
I finally caught one you missed! Peter Frampton "Do You Feel Like We Do" Dm F C Dm or i, III, VII, i (Jolene)
On the topic of minor key roman numerals:
Is it also correct to use the relative major as a point of reference? For example, I'd like to think of i bIII bVII i as vi I V vi, with the understanding that vi is the tonic chord. That way I immediately know where my fingers would go on a guitar. Whereas if I see bIII and bVII, I'd panic and take time to figure out what the chords actually are.
I'd like to know this too. Like you i use to think in terms of the relative major o even greek modes where "i bIII bVII i" is "vi I V vi", as you said, but also Aeolian, Ionian, Mixolydian, Aeolian... so yeah Idk
i think you can go either way. if i see "I - bVII" or "V - IV" i'm generally gonna figure out pretty quickly that it's probably a mixolydian progression. use whatever you're most comfortable with!
Very nice! I noticed that She Loves You is Tonic-Tonic-Tonic-Dominant. So probably that's why it feels strange. It's like three bars with the same chords, with only slight changes.
Using another dominant after the five gives a nice effect as well
Thanks for making my confusion go away at the end of the video! I was wondering why you write the roman numbers small or big, accompanied by flats in front of the numbers etc... now everything's clear :)
Can you maybe do a video describing the different types of musical analysis, regarding chord progressions? I learned at musicology the 'german' way of analysing (Stufentheorie/Funktionstheorie), e.g. T (tonica in major) is equivalent to I, or t (tonica in minor) is equivalent to i, etc...
Would be super helpful! :) thank you!
Great video as always! I was wondering if you'd tackle more movie scores? Maybe horror?!
As always writing a comment to support the channel
Can you take a look at some Math Rock Chord Progressions? I think they are always really interesting to listen to.
Jolene/I Bet You Look Good On The Dancefloor/Time being in the same chord progression has slightly broken my brain.