Posts Tagged progression
I distinctly remember hearing this song for the first time and not believing this was Lindsay Lohan!
More recently, I looked up who wrote it and found two superstars behind it, specifically Greg Wells and Kara DioGuardi.
BTW, if you don’t know these two, do yourself a favor, and look ‘em up!
I’ve always been convinced that there was something magical going on in the chord progression, specifically the key mod.
Here’s the magic: the verse is in the key of C# minor/E major while the chorus is in the key of G# minor/B major, a perfect 5th away! While Gary Allan (“watching airplanes”) went with the perfect 4th mod, the perfect 5th still gives a smooth transition from verse to chorus, while giving a huge emotional lift, or page turn.
And note the end of the chorus steps right back to C# minor/E major.
Nice work Greg and Kara! (I write that as though they’ll ever read this, or that they care!)
See you next time!
You can count on Lady Antebellum to join the fun with our friend, the 6 min, 4, 1, 5 (okay, inverted 5 over 7) progression.
Are you seeing a trend here??
Or a rut?
I’ll have some new modulation examples next time!
Toto’s “Africa” was a surprise to find! The chorus kicks back to our good friend, 6 min, 4, 1, 5.
But it’s not quite so obvious due to all the hipness leading up to the chorus, from the asymmetrical verse phrasing, as well as the key change.
The search continues!
Country music isn’t immune to the effects of this hit song chord progression.
If you’re just now joining us, the progression is:
6 min, 4 major, 1 major, 5 major,
or in C major,
a minor, f major, c major, g major
In the Flatts hit “What Hurts the Most”, they only employ it in the chorus.
Nice job Mr. Steele! (Jeffrey that is…)
Until next time…
Another great example of the 6 min, 4 major, 1 major, 5 major progression.
In this case, it’s actually used for the verse, and chorus. The prechorus is the only place they step away from it.
Until next time…
Okay, so Avril’s “Complicated” was the FIRST song I ever noticed with this progression. It’s disguised a little with the Edie Brickell-esque guitars, but the chorus still has it.
Also the first time I had ever heard of a collaborative songwriting/production model like the Matrix. Talented group! And a revolutionary idea for music production!
Until next time!