Re: Educate Me - What Key is This?

Took me awhile to figure out that Morse Code...

It's in A. The change to D doesn't sound like a key change to me as much as
it does a move to the IV chord in A. The chords on the "D" progression are
also diatonic to A

All that other movement inside the chords is just reinforcing the melody in
an inner voice, repeated diatonically through each chord. The rest of the
voices function more as a pedal point (tone, note, whatever ...) than
anything else. The tine always reminded me of church bells, maybe that's
what he was going for.

The chords in the chorus suggest the key of D, even though they revolve
around G. From what I remember though, they have the same drone-like "voice
leading" quality to them.

If I was going to improv a bass line or solo on this section, I'd start with
the key of D (F# C#) and work form there.


I guess what I'm trying to say is that the chords in this tune are largely
based on the juxtaposition of the melody with the "drone" notes. I doubt
there was a "master plan" to write a song based on a progression of sus
chords and plagal key signatures.


If you need to know what Yoko is singing, I can't help you there...

"Llarry" <tghllama@xxxxxxx> wrote in message
news:698Yi.4148$zN3.2890@xxxxxxxxxxxxxxx

"Pt" <peatea@xxxxxxxxx> wrote in message
news:1194388058.908214.144920@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

(snip actual notes)

This part is in the key of A Major.
Bmi being a ii chord.
I, ii, V, I

(snip actual notes)

This part is in the key of D Major.
Emi being the ii chord.
I, ii, V. I

Notice that the two parts are the same progression but in 2 different
keys.
The song modulates from A to D.


(snip actual notes)


This in D Major.
E7 is a II Major 'off chord', that is not in key of D, which is often
used in pop and country music as a harmonic hook.

Pt


I wasn't sure about the chorus, but I got the verse bits -- however -- I'm
hoping js (or someone else with tons o' classical theory) will chime in.
Since the A is the V of D, we may be looking at treating that whole part
as
an extended V section, if I'm remembering the whole "secondary dominant"
concept correctly (and not inside out and backwards). That is, the Bm
gets
treated as "ii of V" and the E as "V of V", leaving the entire piece in D
Major.


--
--Llarry Amrose

In theory, there is no difference between theory and practice, but in
practice, there is.
-- Jan L.A. van de Snepscheut




.

Relevant Pages

  • Re: Educate Me - What Key is This?
    ... First off, transposition, and key change are not eve CLOSE to the same ... The F7 chord in C blues, and the C7 chord that's often ... It's NOT a real key change because it's not really prepared for, ... each 1/3 of the song is in a different key. ...
    (alt.guitar.bass)
  • Re: Chord Changes, and example
    ... Here's the chord progression again, ... the same voice leading to a different voice (moving the same melody, ... When taking a melody from the treble voice and redistributing the ...
    (rec.music.classical.guitar)
  • Re: Chord ID?
    ... > In that instance the B7 would not be functioning with dominant function. ... > It would be a non-domiant-function dom7 chord. ... > In the key of C major there is no Eb chord to tonicize. ... > chord is a key change. ...
    (rec.music.theory)
  • Re: G/F#
    ... The only difference in my world is that we'd trend to spell it as a dom7 chord rather than as an +6 chord. ... What are the differences in CPP handling of the progression bVI+6to V compared to the jazz handling of the same pitch collections? ... We tend to to have much looser voice leading practices in jazz anyway, so for us, the movement of bVI+6 directly to V7 is no big deal. ...
    (rec.music.theory)
  • Re: Finding the scale/mode from a chord progression.
    ... This song is an original that I wrote ... Whne the tonic moves, it is a key change, or modulation. ... You should be looking for the Tonic - one tone (or chord) promoted over all ... lowest note of a pattern - things like that. ...
    (rec.music.theory)