what key is that song in... i mean i like the harmony of it, but i can't even begin to analyze it...The notation in article suggests it's in key of G, but how neither b nor a major are in key of g. ??? Thanks!
I dont understand your post.
first of all, Â what song, by who? if it says its in G its probably in G.
You compare "flat" and "major" keys like they are opposites.
its like comparing "Big" to "Uneasy".. lol
flat keys can be major too.
I didnt understand your last comment, can you elaborate on what you mean please?
Can you scan in a piece of this music or link us to any of it so we can see.
Or can you tell use the chords used in the harmony part.
I'm not that familiar with the song but, based on the article's arrangement, the key of G seems to be correct. The B7 is "borrowed" from Em - the relative minor of G; the A is "borrowed" from E as well, but E major. This is actually pretty common and does not constitute a departure from the key. What's happening in this chord progression is we're seeing chords from G (the overall tonality of the piece) and G minor (parallel minor), as well as Em (relative minor of G) and E major (like the relative minor but major!). All of the non-G major chords are placed in the progression to add color and variety. Since Em and Gm scales are closely related to G major, it's easy to add them in. E major is a little more distant from G but it's not that far from Em, so it relates to G in that sense (via the relative minor).
When we're looking at keys, the chord or note that sounds like the tonic is the tonic; and once that has been established, we can determine how every other chord relates to that tonic (unless we come across a full-fledged modulation, in which case we would have a new tonic). This one's a little tricky but not too difficult once you know what you're dealing with. I love chord progressions like this.
Yep, it's in G all right. The opening bass line establishes the G tonality. The bridge section is I, V and IV in G . Much of the music coming out of Stax Studios in Memphis in the 60's used similar chord progressions. And they did it because they liked the way it sounded.
Serickso does a great job of explaining the theory of it. The knowledge of theory, however, is not necessary to WRITE a song like that. I personally know/knew the people who wrote that song and many others like it, and they didn't know a thing about music theory. They just had a great "ear" for what sounded good.
I'm not advocating lack of knowledge by any means, but the creative process depends more on what you hear and feel than on knowledge of theory. Don't neglect developing your ear as you learn theory.
creator of #1 video"Guitar Playing for Songwriters"
cool thanks. I do use if-it-sounds-good-it-is-good approach when i am attempting to compose stuff, but sometimes i do like to hear the theory behind it. and this progression sounded very upbeat so i just had to know what's the story behind it.
"The knowledge of theory, however, is not necessary to WRITE a song like that."
I totally agree. You knew the writer(s)? That's really interesting.
It sounds like the melody was composed first, and the chords were placed to support the melody, regardless of how they fit in the G scale (I've composed that way myself). Was that the case here?
Yeah. Otis Redding and Steve Cropper wrote it. As I understand it, Otis played guitar with an open tuning and was just making major barre chords up & down the neck. The B chord is just a B major triad.
creator of #1 video"Guitar Playing for Songwriters"
