{"id":20800,"date":"2022-03-16T13:10:39","date_gmt":"2022-03-16T13:10:39","guid":{"rendered":"https:\/\/edu.garnishmusicproduction.com\/?p=20800"},"modified":"2023-03-28T12:11:23","modified_gmt":"2023-03-28T12:11:23","slug":"scales-chords-keys-and-harmony","status":"publish","type":"post","link":"https:\/\/edu.garnishmusicproduction.com\/scales-chords-keys-and-harmony\/","title":{"rendered":"Scales, Chords, Keys and Harmony"},"content":{"rendered":"

What\u2019s a scale?<\/b><\/p>\n

 <\/p>\n

We can define a scale as a progression of notes in an ascending or descending order. If you play the note C on a keyboard, and ascend through the next seven white notes to the right of it you have just played the scale of C Major.\"\"<\/p>\n

 <\/p>\n

 <\/p>\n

If you played the note A and then the next seven white notes higher than it then you will have played a version of the scale of A Minor. This is a minor scale because the third note is three semitones<\/b> higher than A, the note we started on.\"\"<\/p>\n

 <\/p>\n

Notice that the minor scale sounds different to the major scale. It\u2019s quite sad, melancholy and detached.<\/p>\n

In theory, a scale can start from any note and include any <\/b>other notes. However, for our purposes we will stick to the basic Major and Minor scales.\u00a0 Don\u2019t worry if all of this is beginning to sound like musical theory, that\u2019s because it is! You don\u2019t need to know too much about this stuff for hitwriting, because once you\u2019ve grasped the idea of a scale, you can move onto something far more interesting:<\/p>\n

<\/h5>\n
What\u2019s a chord?<\/b><\/h5>\n

 <\/p>\n

When we speak of a chord, we mean three or more notes sounded simultaneously. Sometimes only two different notes can represent a chord, but in that case a third note is implied by the other two. The classification of chords and their relation to each other forms part of the study of harmony.<\/b><\/p>\n

A chord of three notes in which the lowest note is accompanied by the third and fifth note above it is known as a triad.<\/b><\/p>\n

<\/h5>\n
Major Chord<\/h5>\n

\"\"<\/p>\n

Here, if you play the keys represented by the dots you\u2019ll hear the chord of C Major. <\/b>The first note \u2018C\u2019 is known as the fundamental, the middle note \u201cE\u201d is known the third as it is the third note in the scale, and the last note \u201cG\u201d is known as the fifth because it is the fifth note in the scale.<\/p>\n

 <\/p>\n

Again, when you play these notes together, you\u2019ll hear that they sound harmonious together, happy and complete. Every Major chord has this sound. The Chord below is G Major; try playing C Major followed by G Major to compare how they sound.<\/p>\n

\"\"\"\"<\/p>\n

Minor Chords<\/b><\/p>\n

So far so good, but you can go out of your mind if you only play major chords! Minor chords are very similar, but sound more sad, reflective or dramatic. Below is the chord A Minor. Try playing it.\"\"<\/p>\n

 <\/p>\n

As you can hear, it has an instant sense of power and purpose, almost classical sounding and certainly not jolly at all.<\/p>\n

 <\/p>\n

We can define a minor chord in much the same way as a major chord, in that the middle note of the chord is the third note of the scale. But the difference between the two is that there are three semitones<\/b> between the fundamental and the third in a minor chord, just like in a minor scale. Easy really.<\/p>\n

Try playing the four chords that you know in this order: C Major\/ A Minor\/ F Major\/ G Major. You have just played the most common chord sequence of all, which underpins songs such as \u2018Blue Moon\u2019 and many others from the 1950s and is still in use today (see Pink \u2018Just Like a Pill\u2019 later in this handout).<\/p>\n

<\/h5>\n
What\u2019s a key?<\/b><\/h5>\n

 <\/p>\n

Here\u2019s a definition I found out on the Internet:<\/p>\n

 <\/p>\n

A term used to indicate the precise tonality of music that uses as its basic material one of the Major or Minor scales and accepts certain relationships between the notes of the scale and the chords built on them.<\/i><\/p>\n

 <\/p>\n

Ok, not very enlightening. Here\u2019s my attempt: Every song has a key, and that key is defined by the notes and the chords used in the song. If we take the chords that we used in the previous section, you will notice that all the notes that are used in all of the chords can be found in the scale of C Major. In that case, we can say with some confidence that we are playing chords that belong in the key of C Major. If we then hum a tune over the top of these chords, say \u2018Blue Moon\u2019, we can say once and for all that we are in the key of C Major. No argument.<\/p>\n

<\/h5>\n
Why does any of this matter?<\/h5>\n

 <\/p>\n

It\u2019s very handy to know which key you\u2019re in when writing a song. For example, you\u2019ll notice when you play the \u2018Blue Moon\u2019 chord sequence (as above) that when you play the C Major chord again as you go round the sequence there is a nice feeling of resolution, a certain rightness to it. The main reason for this is that we are in the key of C Major, and C Major is the fundamental chord of the key.<\/p>\n

 <\/p>\n

Also, there certain chords that \u2018fit\u2019 within a key, giving you a simple harmonic flow when you use them in a chord sequence. For example, in a major key there are six main chords you can use. If we stay with C Major as our key for the moment, they are:\"\"<\/p>\n

\"\"<\/p>\n

Notice that in all the chords, you only need to play white notes. As the key of C Major includes every white note and none of the black notes, we can say that all of these chords are available to us in the key of C Major.<\/p>\n

 <\/p>\n

Similarly, these same six chords are available to us in the key of A minor as the key of A minor includes every white note and none of the black ones.<\/p>\n

 <\/p>\n

As you may have imagined, seeing as they use exactly the same notes, the keys of C Major and A Minor have a relationship with each other: A Minor is the <\/b>Relative Minor<\/i><\/b> key of C Major.<\/b><\/p>\n

Similarly, C Major is the <\/b>Relative Major <\/i><\/b>key of A Minor.<\/b><\/p>\n

 <\/p>\n

And this is significant because\u2026?<\/p>\n

 <\/p>\n

Sometimes when you\u2019re writing a song you may feel like you need to change the mood at certain points as you move through the song. Maybe you\u2019re finding the song is a little too<\/i> happy, or perhaps you need to lighten things up a little. One way to achieve this is to change key<\/b>.<\/p>\n

 <\/p>\n

Try playing this chord sequence: C Major\/ G Major\/ C Major\/ F Major<\/p>\n

 <\/p>\n

It sounds quite positive, certainly lively. You could repeat this sequence for the entire length of your song, but after a couple of repetitions you may be feeling like you need a change. Ok, then play this:<\/p>\n

C Major\/ G Major\/ C Major\/ F Major<\/b><\/p>\n

C Major\/ G Major\/ C Major\/ F Major<\/b><\/p>\n

A Minor\/ E Minor\/ F Minor\/ G Major<\/b><\/p>\n

C Major\/ G Major\/ C Major\/ F Major<\/b><\/p>\n

Whilst you\u2019re playing the highlighted chords, your song feels like you\u2019ve changed moods slightly. This is because for those four bars you have moved from the key of C Major to the Key of A Minor, you have changed key.<\/b> In this example, everything feels quite complete, musical and natural. This is because you have changed key to the relative minor <\/b>key. Because both keys use exactly the same notes, the change is quite subtle but effective and does not shout out \u2018you\u2019ve changed everything\u2019!<\/p>\n

Try this chord sequence:<\/p>\n

 <\/p>\n

A Minor\/ G Major\/ F Major\/ E Minor<\/b><\/p>\n

A Minor\/ G Major\/ F Major\/ E Minor<\/b><\/p>\n

C Major\/ G Major\/ F Major\/ G Major<\/b><\/p>\n

A Minor\/ G Major\/ F Major\/ A Minor<\/b><\/p>\n

Once again, you\u2019ve changed key when you play the highlighted chords, this time from A Minor to C Major, the Relative Major <\/b>key. Notice how the song seems to become more positive when in the major key.<\/p>\n

Changing Keys Again.<\/b><\/p>\n

 <\/p>\n

So what happens if you don\u2019t just play white notes? Surely there\u2019s more to chord sequences than just playing white notes? There certainly is, lets introduce just one extra note to our palette and see what happens:<\/p>\n

D Major<\/b><\/p>\n

 <\/p>\n

Now try this chord sequence:<\/p>\n

C Major\/ G Major\/ C Major\/ F Major<\/b><\/p>\n

C Major\/ G Major\/ C Major\/ D Major<\/b><\/p>\n

G Major\/ C Major\/ G Major\/ D Major<\/b><\/p>\n

G Major\/ C Major\/ G Major\/ D Major<\/b><\/p>\n

As you play the first two lines, every time you return to C Major the sequence feels like it has resolved, a comfortable feeling of completeness. But as you play through the second line and get to D Major<\/b>, there feels like something has changed. You have just changed key, you are now playing in the key of G Major. Notice that from here on in the chord sequence, every time you play G Major<\/b> you have the same feeling of resolution and completeness that you had in the first two lines from C Major.<\/p>\n

Technically speaking, you have modulated <\/b>to the dominant<\/b> key. What this means for you in practical terms is that you\u2019ve changed your key to the (musically) nearest major key. It\u2019s not a big leap for you or the listener, but it can help to keep the interest in your song going when you feel your song may need a lift.<\/p>\n

In getting from the key of C Major to G major we used the chord D Major<\/b> which is not in the key of C Major <\/b>(it includes the note F sharp, a black key on the keyboard). This chord helped us get to the new key without sounding like we\u2019d made a sudden jump. These chords are often called pivot chords<\/i>.<\/p>\n

 <\/p>\n

From here\u2026<\/p>\n

We have only scratched the surface of these topics here, covering just some basic musical theory. <\/b>Some people have dedicated their whole lives to studying these subjects, so don\u2019t be too concerned if you have to reread this handout several times to grasp the concepts. And once you have grasped them you can relax as we don\u2019t need to dwell here much longer. There\u2019s just one more thing we have to cover….<\/p>\n

 <\/p>\n

Chord Notation<\/b><\/h5>\n

 <\/p>\n

You might have noticed that it\u2019s quite clumsy to right out chord sequences like this:<\/p>\n

 <\/p>\n

C Major\/D minor\/ E minor\/ F Major etc\u2026<\/b><\/p>\n

 <\/p>\n

So, for the rest of this course we are going to use this more usual way of writing chord names:<\/p>\n

 <\/p>\n

C\/ Dm\/ Em\/ F<\/b><\/p>\n

 <\/p>\n

Notice that we\u2019re not using the words \u2018major\u2019 or \u2018minor\u2019 now. When you see a chord written as just \u2018C\u2019 or \u2018G\u2019, we mean \u2018C Major\u2019 or \u2018G Major\u2019, the basic three-note triad. <\/b>When you see \u2018Dm\u2019 or \u2018Am\u2019, we mean \u2018D minor\u2019 and \u2018A minor\u2019, again the basic three-note triad<\/b>.<\/p>\n

 <\/p>\n

So far so good, but this can still be a little long winded. There is another way to write out a chord sequence that is more general. You\u2019ve probably seen something like this before:<\/p>\n

 <\/p>\n

I\/II\/III\/IV<\/b><\/p>\n

 <\/p>\n

In the sequence above, a roman numeral now represents each chord.<\/b> Because we are playing in the key of C Major<\/b>, the chord \u2018C\u2019 is thought of as the first chord in the key and so denoted as \u201cI\u201d. If we count up from C on our keyboard using only white notes, we find that the note E is the third note, and so it follows that the chord \u2018Em\u2019, when playing in C Major, is represented with the Roman numeral \u2018III\u2019. Couldn\u2019t be simpler!<\/p>\n

 <\/p>\n

We\u2019re using Roman Numerals??? You\u2019re losing me\u2026<\/p>\n

 <\/p>\n

Come back! There\u2019s a good reason why we do this sometimes. It enables us to talk about things that happen in chord sequences without us having to know the actual specific chords or key of the song.<\/p>\n

 <\/p>\n

Most people in the world do not have perfect pitch<\/b> but almost<\/i> everyone in the world is able to hear relationships between two or more notes. So if we play the note \u2018C\u2019 on a keyboard followed by \u2018D\u2019 to a large audience, 99% will recognize that \u2018D\u2019 is higher than \u2018C\u2019, and somewhere around 5% will know that the notes are separated by one tone.<\/b><\/p>\n

 <\/p>\n

But far less than 1% of the people in the world will know instantly that you have played the actual note \u2018C\u2019 followed by the actual note \u2018D\u2019. Everybody else hears the first note as their starting point and works out the next note\u2019s relationship to the first based on that starting point.<\/p>\n

The same applies to chord sequences. Try playing these chords:<\/p>\n

 <\/p>\n

C\/G<\/b><\/p>\n

F\/C<\/b><\/p>\n

G\/D<\/b><\/p>\n

 <\/p>\n

With a little practice, you\u2019ll start to notice that each pair of chords has the same relationship with each other. This is because in the key of C Major<\/b>, the chord \u2018G\u2019 is the fifth chord. In the key of F Major<\/b>, the chord of \u2018C\u2019 is the fifth chord, and in the key of G Major<\/b>, the chord of \u2018D\u2019 is the fifth chord.<\/p>\n

 <\/p>\n

Take a five minute break and try this again, but this time get someone else to play just one of these chords pairs while you turn your back or close your eyes. Chances are that you won\u2019t be able to say exactly<\/i> what chords are being played but you will recognize the sound of the first chord in a key being played followed by the fifth chord being played. In fact, you could write it down like this:<\/p>\n

 <\/p>\n

I\/V<\/b><\/p>\n

 <\/p>\n

You have accurately written down the chord sequence without knowing the key. Congratulations.<\/p>\n

 <\/p>\n

And now the significance of all this:<\/p>\n

 <\/p>\n

This enables us to talk about the relationships between chords in a song or part of a song without needing to know the key of the song. Lets take an example:<\/p>\n

 <\/p>\n

Pink \u2018Just Like a Pill\u2019<\/p>\n

 <\/p>\n

Verse:<\/b><\/p>\n

 <\/p>\n

I\/ VI\/ IV\/V<\/b><\/p>\n

I\/ VI\/ IV\/V<\/b><\/p>\n

 <\/p>\n

Bridge:<\/b><\/p>\n

IV\/ V\/ IV\/ V<\/b><\/p>\n

IV\/ V\/ IV\/ V<\/b><\/p>\n

Chorus:<\/b><\/p>\n

I\/ VI\/ IV\/V<\/b><\/p>\n

I\/ VI\/ IV\/V<\/b><\/p>\n

 <\/p>\n

We now know that both the verse and chorus start on the first chord of the key, they use the same chord sequence and that the bridge is significantly different in various ways.<\/p>\n

 <\/p>\n

The actual chords used in the song are these:<\/p>\n

 <\/p>\n

Verse:<\/b><\/p>\n

A\/F#m\/D\/E<\/b><\/p>\n

A\/F#m\/D\/E<\/b><\/p>\n

Bridge:<\/b><\/p>\n

D\/E\/D\/E<\/b><\/p>\n

D\/E\/D\/E<\/b><\/p>\n

Chorus:<\/b><\/p>\n

A\/F#m\/D\/E<\/b><\/p>\n

A\/F#m\/D\/E<\/b><\/p>\n

 <\/p>\n

Let\u2019s say that we want to record this song but the key is too high for our singer. Rather than having to write out all the new chords for our guitarist, bassist and keyboard player we could just say \u201clet\u2019s change the key from A Major to G Major\u201d. All the players would instantly know what you mean and could read exactly the same chord sequence sheet using the Roman Numerals convention. They would know that they would now play this chord sequence:<\/p>\n

 <\/p>\n

Verse:<\/b><\/p>\n

G\/Em\/C\/D<\/b><\/p>\n

G\/Em\/C\/D<\/b><\/p>\n

Bridge:<\/b><\/p>\n

C\/D\/C\/D<\/b><\/p>\n

C\/D\/C\/D<\/b><\/p>\n

Chorus:<\/b><\/p>\n

G\/Em\/C\/D<\/b><\/p>\n

G\/Em\/C\/D<\/b><\/p>\n

 <\/p>\n

So, the Roman numeral <\/b>way of writing out a chord sequence has lots of uses and some significant advantages over writing out the actual names of the chords. Here\u2019s one more example:<\/p>\n

 <\/p>\n

Imagine that you\u2019re in a rehearsal room with your band, jamming together. You suddenly have a flash of inspiration and you want to change the chord sequence without the band stopping. You could either shout out the names of the new chords, straining to be heard over the noise of the drummer, or you could hold up your hand with your fingers indicating the next chord to be played using the numbering system described earlier. Everyone can see what you\u2019re communicating instantly.<\/p>\n

 <\/p>\n

This might seem slightly ridiculous, but it is a technique used by country bands all over the world, often when playing live! What tends to happens is that the band may be joined by a new member mid way through a medley, lets say a singer who quickly needs to teach the band a new song. He holds his hand up to indicate the chord, the band can play along without stopping and the audience is none the wiser. Watch out for this next time you\u2019re in Tennessee\u2026<\/p>\n

<\/h5>\n
Some Modern Chord Sequences<\/b><\/h5>\n

 <\/p>\n

Coolio \u2018Gangsta\u2019s Paradise\u2019<\/b><\/h5>\n

 <\/p>\n

\"\"Chord Sequence:\u00a0<\/b><\/p>\n

 <\/p>\n

Ab\/ Fm\/ G\/ Cm<\/p>\n

 <\/p>\n

As I walk through the valley of the shadow of death<\/p>\n

I take a look at my life and realize there’s nothing left<\/p>\n

‘Cause I’ve been blasting and laughing so long<\/p>\n

That even my momma thinks that my mind has gone<\/p>\n

But I ain’t never crossed a man that didn’t deserve it<\/p>\n

Me be treated like a punk, you know that’s unheard of<\/p>\n

You betta watch how ya talking And where ya walking<\/p>\n

Or you and your homies might be lined in chalk<\/p>\n

I really hate to trip but I gotta loc<\/p>\n

As they croak, I see myself in the pistol smoke<\/p>\n

Fool, I’m the kinda g that little homie’s wanna be like<\/p>\n

On my knees in the night saying prayers in the street light<\/p>\n

 <\/p>\n

Chorus<\/b><\/p>\n

Been spending most our lives living in a gangsta’s paradise (2)<\/p>\n

 <\/p>\n

Look at the situation, they got me facing<\/p>\n

I can’t live a normal life; I was raised by the state<\/p>\n

So I gotta be down with the ‘hood team<\/p>\n

Too much television watching, got me chasing dreams<\/p>\n

I’m an educated fool with money on my mind<\/p>\n

Got my ten in my hand and a gleam in my eye<\/p>\n

I’m a loc’d out gangsta, set tripping banger<\/p>\n

And my homies is down so don’t arouse my anger<\/p>\n

Fool, death ain’t nothing but a heart beat away<\/p>\n

I’m living life do or die, what can I say?<\/p>\n

I’m twenty-three now, will I live to see twenty-four<\/p>\n

The way things is going I don’t know.<\/p>\n

 <\/p>\n

2-Tell me why are we so blind to see that the ones we hurt are you and me?<\/p>\n

 <\/p>\n

Chorus<\/b><\/p>\n

 <\/p>\n

Etc.<\/p>\n

 <\/p>\n

Notable Points:<\/b><\/p>\n

 <\/p>\n

    \n
  • Same Chord sequence throughout the song<\/li>\n
  • Bass line sometimes deviates from the root note of the chord creating harmonic interest<\/li>\n
  • First chord in the sequence is not the fundamental chord of the key (i.e. Cm)<\/li>\n
  • How many other songs can we name that has used this chord sequence?<\/li>\n<\/ul>\n

     <\/p>\n

    \"\"Eamon \u2018I Don\u2019t Want You Back\u2019<\/b><\/h5>\n
    <\/h5>\n
    Chord Sequence<\/b>:<\/h5>\n

     <\/p>\n

    Eb\/ Bb\/ Cm\/ Ab9<\/p>\n

     <\/p>\n

    See I don\u2019t, know why, I liked you so much<\/p>\n

    I gave you all, of my trust<\/p>\n

    I told you, I loved you, now that\u2019s all down the drain<\/p>\n

    Ya put me through pain; I wanna let u know that I feel<\/p>\n

     <\/p>\n

    chorus<\/b><\/p>\n

     <\/p>\n

    Fuck what I said it don\u2019t mean shit now<\/p>\n

    Fuck the presents might as well throw em out<\/p>\n

    Fuck all those kisses, it didn\u2019t mean jack<\/p>\n

    Fuck you, you ho, I don\u2019t want you back<\/p>\n

     <\/p>\n

    Fuck what I said it dont mean shit now<\/p>\n

    Fuck the presents might as well throw em out<\/p>\n

    Fuck all those kisses it didnt mean jack<\/p>\n

    Fuck you, you ho, I dont want you back<\/p>\n

     <\/p>\n

    You thought, you could<\/p>\n

    Keep this shit from me, yeah<\/p>\n

    Ya burnt bitch, I heard the storys<\/p>\n

    Ya played me, ya even gave him head<\/p>\n

    Now ya askin for me back<\/p>\n

     <\/p>\n

    Ya just another act, look elsewhere<\/p>\n

    Cuz ya done with me<\/p>\n

     <\/p>\n

    Notable Points:<\/b><\/p>\n

     <\/p>\n

      \n
    • Same chord sequence throughout song<\/li>\n
    • Extended chord (Ab9) at the end of the sequence creating a sense of suspense<\/li>\n
    • Lots of black notes used in these chords, typical of RnB and many other jazz influenced styles.<\/li>\n<\/ul>\n

       <\/p>\n

      Goldfrapp \u2018Utopia\u2019<\/b><\/p>\n

       <\/p>\n

      Chord Sequence:<\/b><\/p>\n

       <\/p>\n

      Verse<\/b><\/p>\n

       <\/p>\n

      A\/A\/C\/C\/E\/E\/Gm\/Gm\/Dsus4\/D\/Fmaj7\/F<\/p>\n

       <\/p>\n

      Chorus<\/b><\/p>\n

       <\/p>\n

      A\/A\/C7\/C7\/D9\/D9\/Fmaj7\/F<\/p>\n

       <\/p>\n

      It\u2019s a strange day<\/p>\n

      No colours or shapes<\/p>\n

      No sound in my head<\/p>\n

      I forget who I am<\/p>\n

      When I\u2019m with you<\/p>\n

      There\u2019s no reason<\/p>\n

      There\u2019s no sense<\/p>\n

      I\u2019m not supposed to feel<\/p>\n

      I forget who I am<\/p>\n

      I forget<\/p>\n

       <\/p>\n

      Fascist baby<\/p>\n

      Utopia, utopia<\/p>\n

       <\/p>\n

      My dog needs new ears<\/p>\n

      Make his eyes see forever<\/p>\n

      Make him live like me<\/p>\n

      Again and again<\/p>\n

      Fascist baby<\/p>\n

      Utopia, utopia<\/p>\n

      My dog needs new ears<\/p>\n

      I\u2019m wired to the world<\/p>\n

      That\u2019s how I know everything<\/p>\n

      I\u2019m super brain<\/p>\n

      That\u2019s how they made me<\/p>\n

       <\/p>\n

      Fascist baby<\/p>\n

      Utopia, utopia<\/p>\n

       <\/p>\n

      \"\"Notable Points:<\/b><\/h4>\n

       <\/p>\n

        \n
      • Simple structure disguising complex chord sequence<\/li>\n
      • No easily defined key (modulates throughout song)<\/li>\n
      • Extensive use of \u2018extended\u2019 chords e.g. D9<\/li>\n
      • Complex chord structure contributes to the songs \u2018filmic\u2019 qualities, creating an almost \u2018floating\u2019 musical effect that compliments the surreal lyric.<\/li>\n<\/ul>\n

         <\/p>\n

        <\/h4>\n

        <\/h4>\n

        Maroon 5 \u2018This Love\u2019<\/b><\/h4>\n

        Chord Sequence:<\/b><\/h4>\n

        Verse<\/b><\/p>\n

        G7\/ Cm\/ Fm\/ G7<\/p>\n

         <\/p>\n

        Chorus<\/b><\/p>\n

        Cm.Fm\/ Bb.Eb\/ Cm.Fm\/ Bb.Eb\/ Cm.Fm\/ Bb.Eb\/ Cm.Fm\/ Bb.G7<\/p>\n

         <\/p>\n

        Middle 8<\/b><\/p>\n

        Fm\/ Eb\/ G7\/ Cm\/ Fm\/ Eb\/ G7\/ G7<\/p>\n

         <\/p>\n

        \"\"I was so high I did not recognize<\/p>\n

        The fire burning in her eyes<\/p>\n

        The chaos that controlled my mind<\/p>\n

        Whispered goodbye and she got on a plane<\/p>\n

        Never to return again<\/p>\n

        But always in my heart<\/p>\n

         <\/p>\n

        Chorus<\/b><\/p>\n

         <\/p>\n

        This love has taken its toll on me<\/p>\n

        She said Goodbye too many times before<\/p>\n

        And her heart is breaking in front of me<\/p>\n

        I have no choice cause I won’t say goodbye anymore<\/p>\n

         <\/p>\n

        I tried my best to feed her appetite<\/p>\n

        Keep her coming every night<\/p>\n

        So hard to keep her satisfied<\/p>\n

        Kept playing love like it was just a game<\/p>\n

        Pretending to feel the same<\/p>\n

        Then turn around and leave again<\/p>\n

         <\/p>\n

        Chorus<\/b><\/p>\n

         <\/p>\n

        I’ll fix these broken things<\/p>\n

        Repair your broken wings<\/p>\n

        And make sure everything’s alright<\/p>\n

        My pressure on your hips<\/p>\n

        Sinking my fingertips<\/p>\n

        Into every inch of you<\/p>\n

        Cause I know that’s what you want me to do<\/p>\n

        Notable Points:<\/b><\/p>\n

         <\/p>\n

          \n
        • Sequence starts on G7, the dominant chord in the key of C minor<\/li>\n
        • Key change to Eb Major in chorus creates a happy, up-tempo feel<\/li>\n
        • Extensive use of G7 chord creates tension (suspension)<\/i> that always resolves to the fundamental chord of the key.<\/li>\n
        • The pace of the chord changes increases in the chorus from one chord per bar in the verse to two chords per bar.<\/li>\n<\/ul>\n

           <\/p>\n

          Elvis Presley \u2018Jailhouse Rock\u2019<\/b><\/h5>\n

           <\/p>\n

          Chord Sequence:<\/b><\/p>\n

           <\/p>\n

          \"\"D\/ D\/ D\/ D\/ D\/ D\/D\/ D\/ G7\/ G7\/ D\/ D\/ A7\/ A7\/ D7\/ D7<\/p>\n

          The warden threw a party in the county jail.<\/p>\n

          The prison band was there and they began to wail.<\/p>\n

          The band was jumpin’ and the joint began to swing.<\/p>\n

          You should’ve heard those knocked out jailbirds sing.<\/p>\n

           <\/p>\n

          Let’s rock, everybody, let’s rock.<\/p>\n

          Everybody in the whole cell block<\/p>\n

          was dancin’ to the Jailhouse Rock.<\/p>\n

           <\/p>\n

          Spider Murphy played the tenor saxophone,<\/p>\n

          Little Joe was blowin’ on the slide trombone.<\/p>\n

          The drummer boy from Illinois went crash, boom, bang,<\/p>\n

          the whole rhythm section was the Purple Gang.<\/p>\n

          Let’s rock, everybody, let’s rock.<\/p>\n

          Everybody in the whole cell block<\/p>\n

          was dancin’ to the Jailhouse Rock.<\/p>\n

           <\/p>\n

          Number forty-seven said to number three:<\/p>\n

          “You’re the cutest jailbird I ever did see.<\/p>\n

          I sure would be delighted with your company,<\/p>\n

          come on and do the Jailhouse Rock with me.”<\/p>\n

          Let’s rock, everybody, let’s rock.<\/p>\n

          Everybody in the whole cell block<\/p>\n

          was dancin’ to the Jailhouse Rock.<\/p>\n

           <\/p>\n

          The sad sack was a sittin’ on a block of stone<\/p>\n

          way over in the corner weepin’ all alone.<\/p>\n

          The warden said, “Hey, buddy, don’t you be no square.<\/p>\n

          If you can’t find a partner use a wooden chair.”<\/p>\n

          Let’s rock, everybody, let’s rock.<\/p>\n

          Everybody in the whole cell block<\/p>\n

          was dancin’ to the Jailhouse Rock.<\/p>\n

           <\/p>\n

          Shifty Henry said to Bugs, “For Heaven’s sake,<\/p>\n

          no one’s lookin’, now’s our chance to make a break.”<\/p>\n

          Bugsy turned to Shifty and he said, “Nix nix,<\/p>\n

          I wanna stick around a while and get my kicks.”<\/p>\n

          Let’s rock, everybody, let’s rock.<\/p>\n

          Everybody in the whole cell block<\/p>\n

          was dancin’ to the Jailhouse Rock.Notable Points:<\/p>\n

          \u2022\u00a0\u00a0\u00a0 A variation on the classic 12 bar blues chord sequence, where the fundamental chord (D) is played over 8 bars rather than the usual 4.<\/p>\n

            \n
          • Sliding \u2018chromatic\u2019 chord at the start of every sequence creates an \u2018edgy\u2019 feel.<\/li>\n
          • Extensive use of \u2018seventh\u2019 chords, typical in blues.<\/li>\n
          • Same chord sequence throughout.<\/li>\n
          • Why does most blues follow the same chord sequence?<\/li>\n<\/ul>\n

             <\/p>\n

            Chicago \u2018Hard Habit to Break\u2019<\/b><\/p>\n

             <\/p>\n

            Chord sequence<\/b><\/p>\n

             <\/p>\n

            Verse<\/b><\/p>\n

            F#\/ F#\/ D#min \/ D#min\/\u00a0 B\/ A#min.F#\/ G#m7\/ E<\/p>\n

            A\/ A\/ F#min\/ F#min\/ D\/ C#min.A\/ Bmin7\/ G<\/p>\n

             <\/p>\n

            Chorus<\/b><\/p>\n

            C\/ G\/ F9.F\/ G#\/ C\/ G\/ F9.F\/ G#\/ G\/ G#.A#\/ C<\/p>\n

            I guess I thought you’d be here forever<\/p>\n

            Another illusion I chose to create<\/p>\n

            You don’t know what ya got until it’s gone<\/p>\n

            And I found out just a little too late<\/p>\n

             <\/p>\n

            I was acting as if you were lucky to have me<\/p>\n

            Doin’ you a favor I hardly knew you were there<\/p>\n

            But then you were gone and it was all wrong<\/p>\n

            Had no idea how much I cared<\/p>\n

             <\/p>\n

            \"\"Chorus:<\/b><\/p>\n

            Now being without you<\/p>\n

            Takes a lot of getting used to<\/p>\n

            Should learn to live with it<\/p>\n

            But I don’t want to<\/p>\n

            Living without you<\/p>\n

            Is all a big mistake<\/p>\n

            Instead of getting easier<\/p>\n

            It’s the hardest thing to take<\/p>\n

            I’m addicted to ya babe<\/p>\n

            You’re a hard habit to break<\/p>\n

             <\/p>\n

            Notable Points<\/b><\/h5>\n
              \n
            • Three key changes from verse to chorus. Song starts in F#, modulates to A , chorus in C.<\/li>\n
            • These three keys are almost entirely unrelated, for example F# and C could not be more unrelated (only two notes in common, \u2018B\u2019 and \u2018F\u2019)<\/li>\n<\/ul>\n

              \u2022\u00a0\u00a0\u00a0 Despite the key change after the second line in the verse, the chord sequence is the same i.e I\/I\/VI\/VI\/IV\/III.I etc.<\/p>\n

               <\/p>\n

              Nirvana \u2018Lithium\u2019<\/b><\/h5>\n

               <\/p>\n

              \"\"Chord Sequence<\/b><\/p>\n

               <\/p>\n

              D.F#\/ Bm.G\/ A#.C\/ A.C<\/p>\n

               <\/p>\n

              \u2018I Like It \u2018 section<\/p>\n

              G.A#\/ G.A#\/ G.A#\/ G.A#\/<\/p>\n

               <\/p>\n

              I’m so happy ’cause today I found my friends<\/p>\n

              They’re in my head<\/p>\n

              I’m so ugly, but that’s okay, ’cause so are you<\/p>\n

              We broke our mirrors<\/p>\n

              Sunday morning is everyday for all I care<\/p>\n

              And I’m not scared<\/p>\n

              Light my candles, in a daze<\/p>\n

              ‘Cause I’ve found god<\/p>\n

              Yeah, yeah<\/p>\n

               <\/p>\n

              I’m so lonely, that’s ok I shaved my head<\/p>\n

              And I’m not sad<\/p>\n

              And just maybe I’m to blame for all I’ve heard<\/p>\n

              And I’m not sure<\/p>\n

              I’m so excited, I can’t wait to meet you there<\/p>\n

              But I don’t care<\/p>\n

              I’m so horny, but that’s okay<\/p>\n

              My will is good<\/p>\n

              Yeah, yeah (x6)<\/p>\n

               <\/p>\n

              I like it – I’m not gonna crack<\/p>\n

              I miss you – I’m not gonna crack<\/p>\n

              I love you – I’m not gonna crack<\/p>\n

              I kill you – I’m not gonna crack<\/p>\n

               <\/p>\n

              I’m so happy ’cause today<\/p>\n

              I found my friends<\/p>\n

              They’re in my head<\/p>\n

              I’m so ugly, but that’s okay, ’cause so are you<\/p>\n

              We broke our mirrors<\/p>\n

              Sunday morning is everyday for all I care<\/p>\n

              And I’m not scared<\/p>\n

              Light my candles in a daze<\/p>\n

              ‘Cause I’ve found god<\/p>\n

               <\/p>\n

              Notable Points<\/b><\/h5>\n
                \n
              • Same chord sequence throughout except at \u201cI like it\u201d section<\/li>\n
              • Almost exclusive use of major chords creates an unusual \u2018tense\u2019 musical atmosphere typical of many rock bands of this era (Pixies being the most obvious example).<\/li>\n
              • Extensive use of major chords not in the key of D, technically changing key with almost every chord. Why is it that we don\u2019t particularly notice this?<\/li>\n<\/ul>\n

                 <\/p>\n

                Kylie Minogue \u2018Can\u2019t Get You Out of My Head\u2019<\/b><\/h5>\n

                 <\/p>\n

                \"\"Chord Sequence<\/b><\/p>\n

                 <\/p>\n

                A section<\/b><\/p>\n

                Dm7\/ Dm7\/ Am7-9\/ Am7-9<\/p>\n

                 <\/p>\n

                B section<\/b><\/p>\n

                A#\/ A\/ E\/ A\/\u00a0 Gm7\/ Gm7\/ Asus4\/ Asus4<\/p>\n

                 <\/p>\n

                Note: This song also occasionally holds on A# at the end of the A section<\/p>\n

                 <\/p>\n

                La,la,la la,la,la,la,la (x4)<\/p>\n

                 <\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, your lovin’ is all I think about<\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, its more than I dare to think about<\/p>\n

                 <\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, your lovin’ is all I think about<\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, its more than I dare to think about<\/p>\n

                 <\/p>\n

                Every night<\/p>\n

                Every day<\/p>\n

                Just to be there in your arms<\/p>\n

                Won’t you stay<\/p>\n

                Won’t you stay<\/p>\n

                Stay forever and ever and ever ah ah<\/p>\n

                 <\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, your lovin’ is all I think about<\/p>\n

                I just can’t get you out of my head<\/p>\n

                Boy, its more than I dare to think about<\/p>\n

                 <\/p>\n

                There’s a dark secret in me<\/p>\n

                Don’t leave me lost in your arms<\/p>\n

                Set me free<\/p>\n

                Feel the need in me<\/p>\n

                Set me free<\/p>\n

                Stay forever and ever and ever ah ah<\/p>\n

                 <\/p>\n

                Notable Points:<\/b><\/p>\n

                  \n
                • Simple repetitive sequence for the most part<\/li>\n
                • Use of extended chords typical in this style<\/li>\n
                • Use of suspended chords in the B section creates a tension that\u2019s nicely resolved when we return to the A section<\/li>\n
                • Short key change from D minor to the dominant key (A) using E major as the pivot chord in the b section<\/li>\n
                • This song has no chorus!<\/li>\n<\/ul>\n

                   <\/p>\n

                  Definitions<\/b><\/h4>\n
                  <\/h5>\n
                  Dominant<\/b><\/h5>\n

                   <\/p>\n

                  The fifth note of a major or minor scale thus \u2018G\u2019 is the dominant note in the key of C, \u2018A\u2019 is the dominant note in the key of D etc.<\/p>\n

                   <\/p>\n

                  Modulation<\/b><\/h5>\n

                   <\/p>\n

                  In music theory, a change of key.<\/p>\n

                   <\/p>\n

                  Perfect Pitch<\/b><\/h5>\n

                   <\/p>\n

                  The ability to distinguish and identify any given note without any musical or tonal support.<\/p>\n

                  <\/h5>\n
                  Roman Numerals<\/b><\/h5>\n

                   <\/p>\n

                  Numerals made up by letter combinations, such as iv for the Arabic number 4.<\/p>\n

                  The style of numerals used by the Romans, utilising the letters I, V, X, L, C, D and M.<\/p>\n

                   <\/p>\n

                  Semitone:<\/b><\/h5>\n

                   <\/p>\n

                  Half a tone \u2013 the smallest interval in regular use in western music, such as between the notes \u2018E\u2019 and \u2018F\u2019. There are twelve equal semitones in an octave.<\/p>\n

                  <\/h5>\n
                  Tone<\/b><\/h5>\n

                   <\/p>\n

                  The musical interval between the notes \u2018C\u2019 and \u2018D\u2019, or \u2018G and \u2018A\u2019. There are six tones in an octave.<\/p>\n

                   <\/p>\n

                  Triad<\/b><\/h5>\n

                   <\/p>\n

                  A chord of three notes, the highest being five notes above the lowest, the middle note being three notes above the lowest.<\/p>\n

                   <\/p>\n

                  Relative Major\/Minor<\/b><\/h5>\n

                   <\/p>\n

                  Term describing the relationship between two keys, one major and the other minor which use the same notes e.g. E minor is the relative minor of G Major.<\/p>\n

                   <\/p>\n

                   <\/p>\n

                   <\/p>\n

                   <\/p>\n","protected":false},"excerpt":{"rendered":"

                  What\u2019s a scale?   We can define a scale as a progression of notes in an ascending or descending order. If you play the note C on a keyboard, and ascend through the next seven white notes to the right of it you have…<\/p>\n","protected":false},"author":73,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[547],"tags":[],"class_list":["post-20800","post","type-post","status-publish","format-standard","hentry","category-comp"],"_links":{"self":[{"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts\/20800","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/users\/73"}],"replies":[{"embeddable":true,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/comments?post=20800"}],"version-history":[{"count":3,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts\/20800\/revisions"}],"predecessor-version":[{"id":22612,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/posts\/20800\/revisions\/22612"}],"wp:attachment":[{"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/media?parent=20800"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/categories?post=20800"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edu.garnishmusicproduction.com\/wp-json\/wp\/v2\/tags?post=20800"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}