Written by Gary Ewer. Follow on Twitter. If all you need are some chords to get you going, check out this ebook collection. Read more.. Always been a singer, but I have been bitten by the writing bug,, have an iPad and GarageBand which opens doors I never had before. I know these are so very important to know, so the song feeds the way it needs too , to deliver Everything it can. Can you please help me. Verse: Use mainly strong or fragile progressions. Pre-chorus: Create progressions that start on a chord other than the tonic chord, and then move back to the tonic before it hits the chorus.
Or if the chorus begins on the tonic, let the final chord of the pre-chorus be something that moves smoothly to it like a ii, V or IV. Chorus: Use mainly strong progressions. Bridge: Start on a chord other than the tonic. If your song is in a major key, try starting your bridge on a vi chord, or perhaps ii. If your song is in a minor key, experiment with starting a bridge on the relative major.
Use bridge progressions to give a contrast to whatever the chorus is giving. Your email address will not be published. Notify me of follow-up comments by email. Notify me of new posts by email.
This site uses Akismet to reduce spam. Learn how your comment data is processed. Power Up Your Songwriting Skills! About This Blog. Work one-on-one with me! Ten songwriting eBooks - one great bundle price! Developing a Lyrics-First Songwriting Process". Visit the Online Store. If you don't think in modes, it means there's no such concept as X-Major key or X-minor keys.
Coming up with a chorus progression
Those 2 keys are modes. However, in my opinion I don't recommend understanding this song via concepts of "borrowing" in this case. For example, the Star Trek theme is mixolydian. You don't have to "borrow" any musical chords from somewhere else to organize the whole tune in a systematic way for comprehension. Any guitarist will tell you its fun to slide up to F for one or two "chunk chunk's" from open E between power chords, and its a move that's used quite frequently in a number of rock songs, without anyone ever thinking of modes.
It's a very common chord sequence. Yes that's correct. My bad, remembered wrong. And maybe the point about choosing the mode that best describes the question at hand. Rock music was pretty much created by guitar players who didn't really know much theory, but developed powerful chords that broke away from conventional western harmony in an exciting way.
While you can drive yourself nuts trying to describe this in scales or modes or theory, I find it much more useful just to enjoy the ride. None of these depart from the white notes in the scale of C major. But the rock guitarists broke the rules, and threw in chords that really spiced things up and used the black notes as well. A study of The Beatles songs in chronological order is really useful for learning about this - and they pretty much didn't read or write music.
In the key of C, some very "rock" chords are Bb, Ab and Eb. At the time they were new, these were mind blowing chord progressions. This thread is pretty much about the use of an F major chord in the key of G, which is the same as Bb major in the key of C. Some artists make a career out of it.
Check out Steve Miller songs I often thought about it this way While the Bb major chord is foreign to the scale and conventional western harmony of the key of C, they are actually perfectly normal for the Key of F. So in a way, it's kind of like skewing the chords by a fourth I think the use of these chords by guitarists, predominantly, was the heart of rock music. Primitively simple, and yet devilishly clever at the same time.
Theory-wise, I think it sounds more complicated than it actually is. As others have said, this a very guitar-heavy rock song, probably written on guitar. If you play guitar, it all makes sense. The melody is mostly in Em pentatonic, which is exactly what you would play on a guitar to improvise over it. The only thing that stands out is the F in the verse. But you can just look at it as a flat 7, which adds a slight blues flavor. The big lift in the chorus is as much about the arrangement and production as it is the composition. In the verse she's singing in an almost spoken tone, head voice, towards the bottom of her register.
In the chorus she's singing full blast, at the top of her range. The drums in the verse are very small and tight, a drum machine sound. In the chorus it's a full-on rock drum set, with cymbals all over the place. The guitars in the verse are relatively clean, in the chorus they're full distortion rock guitars. In the verse, there is no bass at first, then it plays relatively high up on the neck. On the chorus, it drops down an octave, giving a much fatter bottom end. The mix on the verse is very tight, dry and "up close".
The chorus is much wetter.
The guitars, her voice. Reverb and delay. If I had to pick one thing besides her voice which is obviously powerful when she lets loose, it's the drums. Just listen to the drums in the verse and then the chorus, and you'll have most of the answer. Thanks for adding more to this thread as I have gone back to it a few times recently.
- Finalmente sposa (I Romanzi Classic) (Italian Edition).
- Lions, Tigers, and Sexy Bears Oh My! (Entangled Covet).
- The Unwilling Earl - A Regency Novella.
- Recommended Posts;
- General Equilibrium Theory of Value?
I agree the obvious vocal lift and drums add a lot to the dynamics. But away from the dynamics and just playing the chords on a piano there is a clear lift I just wanted to understand what caused it based on chordal theory. Now I know it is in the key of G Major. Amazing thread. Represents everything I felt when going from piano to guitar! Jason West, what can I say, great lesson on modes and the explanation of the feeling of a song as regards these.
People are overthinking this explanation Mr West is giving to us. It is what it is, an attempt to explain the feelings that some chords bring us. For example I will always love playing C Bb F on a guitar, but I will never understand the theory behind it, be modes or whatever, it just feels right. But modes actually can explain it, in a way.
Verse in F major, Z | Reid Concerts
Hosted by Nimbus Hosting. Gearslutz Members don't see this.