Hi,
I can't for the life of me remember this song - it's quite a simple one, the main melody of the song is three piano chords, I think D, something, G, and it's quite a wistful/sad sounding song. The singer is male, I think, and it's mostly in a higher pitch though there might a be a lower tone too.
The song seems quite melancholic, or wistful, or reflective sort of thing.
Bands that spring to mind are the sort of softer side of indie/alt rock in that era, The XX, The National, Sea Power, Elbow, but it could just as easily be a pop rock like Snow Patrol or something
Thanks
Here's what I think it is on sequencer:
https://onlinesequencer.net/2463963
Chords B E5 A see this link
https://www.reddit.com/r/RedditSessions/comments/mxib5j/whats_this_song/?utm_source=share&utm_medium=ios_app&utm_name=iossmf
I thought it would be fun to check how many Ramones originals for the first ten years of the band's discography legitimately only have three chords in the entire song! A few tunes narrowly escaped the list by having more than one voicing of the same chord, but even that was only a couple more songs.
Ramones
Judy Is A Punk - Eb Ab Bb
Leave Home
Suzy Is A Headbanger - G C D
What’s Your Game - B F# E
Rocket To Russia
Here Today, Gone Tomorrow - D F# E
I Don’t Care - A G F
Road To Ruin
I Just Wanna Have Something To Do - A G F
End Of The Century
None
Pleasant Dreams
None
Subterranean Jungle
My-My Kind Of A Girl - E A B
Too Tough To Die
Endless Vacation - B A Bb
Animal Boy
None
NOTE: I didn't really try to list chords in the order they're played.
I'm quite curious because I don't usually hear songs that resolve a dominant chord with another dominant chord, and then play a another dominant chord.
This is the song: https://www.youtube.com/watch?v=QoXKVB_6Tyw
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At 0:07:
(C#m7) Sometimes I have a weird way of (AMaj7) showing my love
And I (C#m7) always expect her to (F#7) know what I'm thinking of (G#7) (E9) ("she knows me").
--------------------------------------------------
After the F#7, you'd expect to go to B major, as he does later in the song, but instead, he goes to G#7 while singing the F# with the voice, and then E9.
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It happens again at 0:44:
(C#m7) I get so jealous of the (AMaj7) other guy
And (C#m7) then I'm not happy til I (F#7) make her break down and cry (G#7) (E9) ("she knows me").
--------------------------------------------------
I have a very musical family, and grew up playing guitar and bass. As an insecure teenager, when I saw that my dad and brother both had "the ear" and I didn't, I ultimately decided that there was no point in trying to compete with musicians who had this leg up on me, and kind of stopped taking performing seriously. Now as an adult, I've picked it back up as a hobby, and was recently given the opportunity to join a friend on who has found some moderate success on the local scene for a few shows! I'm stoked for the opportunity, but have wasted so much time trying to learn the songs just by hearing them, and ultimately had to resort to reaching out to my dad for help/confirmation that my guesses were right in order to ensure I could learn the songs in time for the shows.
I'm curious if anyone can offer any advice or personal stories about their experience trying to develop this skill if it doesn't come naturally. My current instinct was to plug the songs into a tool that can identify the key of the song, and from there kind of play along to the song with what notes I know fit into that key. It's an extremely imperfect method, so I'm interested in hearing what other people do!
For context, I'm playing bass. I'm decent at it once i now what notes to play (like when I'm playing along with a tab, tutorial, or improving along with a given key signature), but am insecure about the set back of not having the natural "ear"
Hello all,
I'm a 42m newbie in music theory.
I know that the following chords are part of the E minor scale :
Em, F#dim, G, Am, Bm, C & D
I'm aware that I have "artistic liberty" to throw in any other chords (from other scales) as well to my liking or when I think it suits my song/progression.
Are there certain rules or preferences that you tend to follow to throw in chords that do not necessarily belong to the scale of the key ? which ones ?
Or maybe simplified : what chords outside the scale tend to fit well too ?
This is something I've been wondering about for quite some time. Any input appreciated. Thank you.
Edit : Thanks a lot guys ! Lots to read. My practice jams won't sound the same anymore from now on 😁
https://voca.ro/dy9UTrmAJp8
Earlier today I sat down by the piano to start sketching some new music. After a while I came up with the chord progression Dm Gm C F Bb C Am Gm, a 2-5 into another 2-5-1 before finishing with 7-5-4. Key being Dm. At this point I hadn't begun extending the chords o.s.
I toyed around with it, added a few syncopations and changed it to a 7/8-4/4 measure progression and sent it to some friends. A few minutes go by, and someone tells me that it's basically the same as Kings and Queens by Ava Max.
The chord progression in Kings and Queens's chorus is C#m F#m B E A F#m G#m C#m. If we were to transpose mine a half step down, it would become C#m F#m B E A B G#m F#m, virtually the same chord progression. The only real difference is F#m and C#m being swapped out for B and F#m, which (according to my ears) can carry out just the same chord function. Maybe someone with a better grasp on music theory would disagree, but at least that's where my ears point me.
Now I have never listened to Ava Max before. I just discovered this song when I was told about this from my friend, so it woudl be physically impossible for me to have copied this chord progression. But for some reason, now it just feels wrong to use it because in every sense, except for key, slight syncopation changes and the measures, it's virtually the same song.
TL;DR Wrote a pretty neat chord progression, turns it it's virtually the same as Kings and Queens.
Has this ever happened to any of you people? And how did you react and/or go forth with it?
For instance,
Sun is shining (by Parry or Marley)
D#m D#m7 D#m6 D#mb6
G#m G#m7 G#m6 G#mb6
Or (some Beatles song)
C Cmaj7 C7 C6
Has anyone else noticed this?
I'm at church right now with my parents and I was coverimg my ears bc the noise got too much for me and it blocked out the words (which are most of the offending sound when things hurt my ears tbh) and i noticed that Someone Worth Dying For and What A Beautiful Name have similar melodies and it reminded me of this.
Idk yeah, christian music really just uses different patterns of five chord progressions and eight metaphors lmao
