>mfw it's the same progression OP posted but in the key of C
the roman numerals represent the intervals of the key. so supposing you were in the key of c major, the I would be the c major chord. the ii would be the d minor chord, the III would be the E major chord, and so on.
lowercase is minor and uppercase is major.
>Bm F F(B5) F F6 F F(B5) F Bb F/A Gm7 C9 Gm7 C9 Fmaj7 Bbmaj7 Ebmaj7 Cm7 Cm7 F7 Bbmaj7 Ebmaj7 Bb Gm7 C9 Gm7 C9 Gm7 C9 Gm7 C9 Bb/D Bbm/Db F#7 Bm Bm F F(B5) F F6 F F(B5) F Bb F/A Gm7 C9 Gm7 C9 Fmaj7 Bbmaj7 Ebmaj7 Cm7 F7 Bbmaj7 Ebmaj7 Gm7 C9 Gm7 C9 Gm7 C9 Gm7 Gm7
Such a banal, predictable progression. Especially since the vocal melody is just root notes in simplistic rhythms. Terrible song, The Flaming Lips did it better.
>actually breaking down your songs like this
Some chord progressions are inherently cheesy, but it all depends on how you play them, and how they fit your lyrics/melody. Would you seriously trash a song just because you realize you played it with babby's first chord progression, are people going to call you out on it?
Adding on to this. Certain chords in a key are always major or minor. 1 4 and 5 are always major and there for written in upper case. 2 3 and 6 are minor so they get lower case. 7 is weird because it is diminished and not minor. It is written in lower case with a little circle super script after it.
Keep in mind this is only true if there are no notes from out side the key and your chords are only triads.
By the notes of the scale in that key. For example G Major is:
G A B C D E F# G
which is equivalent to:
I II III IV V VI VII
What this anon >>47631656 is talking about is that the chords must be either major, minor or diminished so that they only use the notes in that particular major scale.
Most chords you hear are built in 3rd and we call them triads. You create a triad by going every other note in a key. For example the notes in C major are
C D E F G A B
A C major chord is built starting on the note C then uses every other note in the key. So the notes of a C major chord are C E G. For D minor its D F A. E minor is E G B and so on.
I was gonna post a thread on harmonic analysis but seeing as this has kinda turned into one, I'll just put it here:
Anyone notice/get excited about the harmonic patterns that occur heavily in certain genres? A few months ago someone pointed out that the post-rock/dreampop progression almost always is centered around vi V IV and different permutations of that, and since he pointed it out I've realized like half of my favorite songs of the genre are like that. I guess the IV and the V give you the optimism that you're going somewhere that feels good, but each and every time you're met with the crushing disappointment of vi......
Same goes for the psychedelic electronic crowd -- Boards of Canada, Oneohtrix Point Never, and sometimes Stars of The Lid (though their harmonic vocabulary is sometimes a little greater than the scope of this next pattern) tend to use a lot of modal mixture, and I've found that if you just make a major triad on top of every note of the minor scale, you get a lot of their favorite chords. So many goddamn BoC and OPN songs based around I, bVII, bVI, IV, bIII, it's not even funny. But i love the vibe, perhaps there's something about the fact that the roots themselves are forming a subconsciously minor scale, and yet all you're hearing is major chords, which goes hand in hand with their themes of a darkness that lies just beneath the surface of gentle synth music
fuck yeah dude i love this stuff
lately i've been trying to analyze a lot of metal music because a lot of normal rock and pop has become predictable
metal varies so widely, but i've seen tons of mode mixture and diminished chords.
a lot of metal bands are very partial to the b2 tone, and to phrygian mode.
Yeah, it's good to know! Sometimes i regret going to college for music, but aside from the friends I've made and the facilities I had available to me, the single greatest thing about my program was the 2 years of aural training and theory classes we had to go through.
Yup, thats the one for metal. It's odd though--the more I think about harmonics, the more im starting to think it doesn't matter that much how much variation you really have going. Like I said, all these bands that I worship tend to find a harmonic style that they like, and then they stick to a lot of the same chords and focus on melodies, arrangements, developments, textures, lyrics, etc. I think musicians (including myself) nowadays get so tripped up on the chords because it is kinda nice to structure things like a puzzle, and perhaps in a way it makes you feel like you can create something immediately more innovative, or perhaps it's just easier than writing melodies so you don't have to leave your comfort zone, but i think more and more that chords hardly matter except for providing a proper harmonic background to the actually important elements of the song!
of course they're both important though who am i kiddin
I've already been through 2 semesters of aural skills and i still feel like I can't do anything. Probably on account of my grade being so low. I think i got somewhere in the neighborhood of high 50's for my aural skills average.
I mean hey, it doesnt come naturally to everyone. And like all skills it takes practice and devotion, i worked really hard at those classes but even aside from that ive always half approached music from an emotional side and half from a technical side, so as i was learning more id be listening to music and breaking down the structures in my head since it was just exciting for me, and that in itself made me get constantly better at it. Keep workin it at!
>no one will notice lol
>C D Bb Ebmaj7 Cm F Bb Gm
>C F C F Am7 Ab F C
>C E D F#m C Em Bb Dm
AND CABBAGES GREEN
THAN ANY I'VE SEEN
Get this Robbie Williams Better Man bullshit outta mah face
I don't know if you're being ironic or if you genuinely are 14 years old, but either way I suggest you leave /mu/ as soon as possible and don't come back until you have some vague semblance of taste.
fuck you. i cover great gig in the sky all the time (and yes, i even sing it). that shit is goat.
>mfw i can play any chord without having to look up how to play it :)
Cadd9 is a wonderful chord but
>Cadd9 (hamer on E at D string)
>G (hammer on B at A string)
Well, it's supposed to linger around the D, Daug, Bm, Daug, D for a while and then modulate to G. I dunno, what you added just doesn't sound right. But thanks anyway.