Have you ever done a video on the "Zelda" chords, using the flat 7 and flat 6? Or just exploring the genius of Koji Kondo in his Zelda, Mario, Nintendo compositions? Thanks for all the great content!
The Carpenters use this following extended progression at the end of Goodbye To Love: (when FX have basically multiplied Karen's voice into 4-part harmony) All chords except the last two (D7 lasts for 3 beats, played on beats 1 and 3, and G7 only lasts for one beat) last for 2: C CM C7 F Fm D7 G7 In an Aimee Nolte video about 3 years ago, the Nolte kids helped her identify such songs for multiple progressions!
“Something” also has the classic Am - Am(maj7) - Am7 - D7 walkdown, over the lyric “I don’t want to leave her now.” Similarly a satisfying chromatic walkdown.
You can keep walking that down, can’t you. Nice on guitar starting at the 5th fret. Am - Am add 7 - Am7 - D - Dm - Am - B7 - E. A in the bass most of the way and the line cliche (A G# G F# F E D# E) on the 4th string. Sounds familiar?
I have ADHD and I've spent years trying to learn more music theory and getting frustrated by everything being either too basic or too technical, and you have struck just the right balance for me lately and I am very grateful! I'm finally getting songs actually written completely and actually published and it is a wonderful feeling. I've been doing homework by writing a song in whatever chord progression you cover in these videos and it is fun and helpful.
@@pensivepenguin3000because society has lots of obstacles for people with ADHD and when people find solutions to overcome these obstacles it makes them happy and sharing things with people is a fundamental part of the human experience
Kokomo (Beach Boys) has a very interesting variation of this extended chord progression. Instead of doing: C Cmaj7 C7 F Fm C, it goes C Cmaj7 Gm7 F Fm C Note that both the C7 and the Gm (or Gm7) have the B♭ note to create the same half-tone descending effect. Not only that, but the whole verse is: C Cmaj7 Gm7 F Fm C D7 G7 and back to C in the next verse. That creates the half-tone descending sequence C B B♭ A A♭ G G♭ F and E, but in addition, G7 C (which is the perfect cadence due to the B C notes sequence) also has the D C notes sequence which, although it is a full tone instead of half, closed the loop back to C where it started.
There's this popular song called "Hidhhda hidhhdai" in Nepal by the band '1974 AD' and it uses the same progression starting from D. When I listened to Something for the first time, it sounded so familiar but I couldn't point out why. It makes sense now
I'm a self-taught guitar player who learned completely by ear without even knowing scales. It's just in the last couple of years that I've learned to understand modes to some degree. I absolutely love these videos. Even when I've written songs, it's all been by ear, sometimes by picking the notes of different chords out on the strings and frets without even knowing what they are.. Knowing a little bit of theory is really a gift. Thank you.
Wow, you are a better man than me... I am tone deaf - I would not be able to distinguish between the various pitches. I would definitely not be able to learn by ear. I am a visual learner. So my problem is being able to know what I am playing.
I didn't realize how much I personally underappreciated McCartney's contribution on bass with this song. You make me love music that I already love, even more. Thank you for that!
I've been playing this progression in variant of "Can't Take My Eyes Off You" (C Cmaj7 C7 F Fm C D Dm C) - and i think that this is one of the most beautiful progressions out there. You get a constant descending feel and resolution is so perfect. This take got me thinking about it as just a member of a huge family. Thanks for great research that went into this video.
I must really like that chord progression because Something, Give Me Love (Give Me Peace), Kiss Me, It Ain't Over Til It's Over, and Can't Take My Eyes Off You are among my favorite pop songs. Raindrops Keep Fallin' on My Head was a favorite when I was a kid.
The piece with a similar descending chord progression that precedes them all is the Adagio of Spartacus and Phrygia from Aram Khachaturian’s Spartacus ballet from 1954. It should be noted that Can’t Take My Eyes Off You (which clearly follows the Adagio progression) preceded Something by two years.
“Everybody’s talking at me” by Harry Nielsen has almost this. It goes to Dm instead of F (which also has that A from the chromatic line) and it also does the “Kiss me” thing of teasing by going between the Cmaj7 and C7. Another cool thing about “Something” is that later, in the chorus, it has an ascending chromatic line.
Sinatra's MyWay has a brilliant variant. D-Dmaj7-D7-B7-Em7-A7-D. The B7 continues the chromatic descent AND acts as a secondary dominant to the next chord, Em7, which acts as the first chord in a ii-V-I turnaround back to the tonic.
I always actually thought the move to the D chord after these four chords was the coolest thing he did as well as his moving to the A major for the bridge which is awesome.
"Last Night on Earth" by Green Day comes to mind when I hear this progression. Beautiful song and I never knew it was the same progression as Something.
I'm not 100% on the chords themselves, but Last Night on Earth actually goes the other way. The fifth note of the chord steps up a semitone each chord, rather than down a semitone like in this progression. So it's a similar effect going on (the line cliche, as he calls it), but it's the opposite direction. Such a beautiful progression
Yeah Last Night On Earth is a great example of a line cliche where you play on the augmented chord: tonic, augmented tonic, 6th, 7th - IV chord, IV minor chord - tonic. Similarities to this
At first i did Not understand the words this man spoke Now after watching at least 50 of David's videos, It is making sense to me 😊 Thank you for the way you make these videos Good Sir 🎩 You are a Legend and a True Gift to music as a whole 🏆 Ty
I was just figuring out Al Green’s “Tired of Being Alone” right before seeing your (as always, amazing) video. His song features not only the Something line cliché in C, but also the same progression in D, where it stays on that later, changing key. I guess Al wasn’t really alone at all… he was in good company!
Natural continuation would probably be an 8-chord loop with C Cmaj7 C7 F Fm C D7 G7, it continues with that chromatic descend and nicely resolves back.
I - IM7 - I7 - IV The I7 (borrowed from the mixolydian mode) can also be labelled as V7/IV, as it functions as a secondary dominant of IV. Also it can be viewed as a line cliche because the progression implies a descending melodic line 1-7-b7-6.
I know very little music theory, but I've loved music all my life and I am able to follow enough of what you teach that I can understand the basic concepts. I want to thank you for that. I also appreciate your gracious attitude. Keep up the great work and maybe in future you'll offer some beginner lessons to those of us who never learned theory! Many thanks... Doug
George had asked Paul to keep the bass simple on Something . Fortunately Macca didn't comply . That bass part is just about my favorite of Paul's. Particularly during the solo . The first part of George's solo is a bit sparse ( sparse and perfect) and the busy bass perfectly fills in the space Harrison is leaving . Just because it's your song doesn't mean you know how the other band members should treat it
Paul’s Bass is incredible on that song, glad he didn’t take George’s request and keep the bass part simple, it would have made the song BORING, and Ringo’s fills and no hi hat during the verse’s are perfect…
I disagree. If a band mate showed me a song they wrote and I thought I could improve it I would give him the suggestion but if he didn’t want it I would back off and do it his way because he wrote it not me. If I had a song idea I was excited about I wouldn’t want someone changing into something else. It’s about band mates respecting each other. You won’t always like each others songs but you compromise. It’d be different maybe if the band were all coming up with the song together. Kinda like the song get back where there sitting around and just start writing the song.
Who cares? The song inspired the bassline not the other way around. The song is epic with or without Bass. Ringo’s drum part is amazing as well; when a songwriter writes a gem like Harrison did, any and all band members will be inspired. That’s all that happened there thanks to George
This should be shown in every copyright lawsuit where chord progressions are at the heart of the case. It clearly demonstrates that progressions, even unique ones, are ubiquitous and part of the public domain.
@@BlessYourHeart254I hear a lot of people say this but there are actually more possible combinations than there are stars in the sky. Of course if you only have a 3 or 4 chord sequence that's not the case but if you look at 8 or 12 bar sequences it's easily possible to come up with truly unique sequences. For example Mitski's 'Washing Machine Heart' has a 12 bar sequence that really is unique.
This is so amazing. All these songs are some of my favorite songs from these artists not even knowing this is one of my favorite chord progressions. These vids are really unlocking the piano and the theory behind it. Really appreciate them.
I have a suggestion. You have done many excellent and insightful videos on harmony with your chord progression videos and with duration/time with your time signature videos, not to mention your genre videos with the classical influences on pop music. May I suggest that you do some videos focusing on melody, especially melodic devices such as sequence, motif, fragmentation, augmentation, diminution, appociatura, passing and auxiliary notes, and suspension in melodies in the. Modern pop/rock genre. There is lots of resources to do with “classical” and jazz but not much on the pop and rock genres. Your insight would be most insightful, inspiring and educational. Thank you and keep up the excellent work.
Another great video - thanks! The first song that came into my mind using a variation of this chord progression is "Home sweet home" by Motley Crue. It's C - Cmaj7 - C7 - F, but the bass is moving from C to B, then to Bb and back to C again.
@@jasyynnoe8392 The notes are the same of course, but in this special chord progression with the bass moving downwards Cmaj7 over B makes more sense to me. Abbrechen Antworten
your videos make it so simple to be able to visualise!! i wish i’d had a teacher like this when i was studying music, it may have been more enjoyable:’)
David, You always amaze me with your relevant,, concise, and detailed content. I really appreciate your song examples. Thank you so much. You’re the best!! 👍
My personal favourite eurovision song from this year "Tell me more" - TuralTuranX uses this progression with the IV iv I, with D, Dmaj7, D7, G, Gmin, D, A
^ The comment I was looking for! :D That was one of my favourites as well from this year! Color of your life from Poland 2016 also uses "line cliché" in the verse with C, Cmaj7, C7, A7 and then Dm, F+, F
"Strawberry Swing" by Coldplay is particularly interesting in this case because as far as I know the bass note under the C7 chord changes within the repetitions of the progression
Cuban artist Silvio Rodríguez has also a wonderful song that uses this progression: La era está pariendo un corazón (The times are giving birth to a heart).
Awesome! I’ve been waiting for this video. There is something so satisfying about that chromatic descending line. I would seriously listen to a playlist of nothing but songs that use it.
The Rain Song Led Zeppelin George told one of the members (I think it might have been John Bonham but not sure) that their music was good but they couldn't write ballads, The Rain Song was their reply. Thanks for making such great instructional videos and for choosing interesting sponsors! I just found them today and am binging.
"Strawberry Swings" is my favorite Colplay song and I never noticed the wonderful chord progression of Something who is one of the best song of my favorite band... Thanks a lot David I'm stunned!!!
This was a great one! Idea for a new video you ask? How about: Songs with "line cliches that ASCEND"? And aren't necessarily limited to staying on one chord, as you touched on in this video. Your analysis of harmony is THE reason I love this channel so much. :)
In the Adele song 'Feel My Love' it sounds like that song takes it further; After running down the cliche to the next dominant chord (C to F in this example) The chord progression of the song then continues with another cliche run down from the half-resolve F back to the C.. (Im calling the F in Something as a Half-resolve cos its half way through the scale from C to C).
Make You Feel My Love is the third time Dylan used the progression! Transposed into C: Simple Twist of Fate: C - C/B - C/Bb - F - Fm (referenced by David) You Changed My Life: C - C/B - C/Bb - F - Fm6 Make You Feel My Love: C - G/B - Gm/Bb - F/A - Fm/Ab (and as you observe, continues the cliche as far as it can go, much like the clingy narrator of Dylan's rendition who won't give up)
This reminds me of John Hartford's "Gentle on My Mind" as recorded by Glen Campbell. That chord progression is C Cmaj7 C6 Cmaj7 and then to Dm Dm^7 Dm7 G7. It's a strongly leading line cliche with a sweet sound. Love your explanations, BTW!
Radiohead also does the same thing in Planet Telex as in Kiss Me. The same chords too. It's really interesting how one chord progression can work in two completely different styles of music.
My favorite example of a line cliche - and imo the only one that doesn’t instantly old fashioned - is from Rush’s song 2112, during the Discovery section.
@ 5:27 I knew it reminded me of a certain song but I couldn't point my finger on it till you play this one. For some odd reason, all these songs sound quite sad to me as if something is coming to an end and maybe the progression is built up that way. Ironically it's in the Major key. Probably the last closing song a band or artists performs. In any case, besides the educational value, it's not a sound that is inspiring to me. I know it's subjective and I try to stay away from abstract terms when coming to these sorts of conclusions but It's interesting to me how we all have the ears that appear the same, but we all hear aspects of one of the things that make up a song differently, almost in a similar way we see things with our own eyes or perceive a thought or message differently depending on who receives it and and how they process it based on their biases, experience and understanding.
Music goes way beyond that though, as the harmonics syncronise with natural biorythms in your brain AND your body physics AND whatever is in your suroundings too.
@@penfold7800 I get the point you're trying to make but things like those are frowned upon by academics. I don't consider myself an intellectual based on my pursuits., because I have desire to study these concepts beyond the basic surface level stuff, but I do find cymatics and it's relation to be music interesting, as well as a few other things that should probably be a left at a coffee table discussion at best. I do believe there's a very good reason why someone like me I finds a song like Simon & Garfunkel - Scarborough Fair, a lot more inspiring and puts me a good mood despite it's sad song, it has a farewell sort of sound. Now I'm fully aware that someone else can hear the exact same song and think it sounds stupid and aren't compelled by it, a totally different reaction. I think it's for reasons that can't be explained in a textbook... But going back to my last point in my OP. I had a hippy teacher in school, and she often carried a her guitar with her and played these songs for us and it was more of a group activity rather than a performance, I remember the songs having the same quality as "Scarborough Fair", so that's probably why I have an affinity to that sound. I'd imagine its the same for others who react the same way to the songs with the 'Something' progression.
The bridge/ prechorus in “I can’t go for that” uses this progression too C Cmaj7 C7 then resolves on Fmaj7 so almost the same. Thanks again for another interesting and entertaining video.
I’m just about to learn this song on piano and this video showed up on my homepage 🎉 thanks a lot for making my day and the nice illustration of this beautiful chord progression 🫡
Knowing a fair bit about music theory myself, I like the parts most where you describe what it feels like, what character or color a certain progression produces.
I play guitar but I love your channel because I'm trying to learn how to play the piano you are an awesome teacher thank you for sharing all your hard work❤❤❤❤❤❤❤❤
"Can't take My Eyes Off Of You" extends the downward run further by going to the II7 before resolving to the V. Another song to use the progression is BJ Thomas's "Another Somebody Done Somebody Wrong Song".
Elton John's "Your Song" has a similar progression - In the "I hope you don't mind" section. It's in the minor key, skips the major 7th chord, and the movement is in the bass - Bm-Bm/A-Bm6/G#-GMaj7 (the G in the bass turning the Bm into a GMaj7). Another classic line cliche I suppose. That must be used elsewhere too?
Quality video, David, as always. Would be good to see a video explaining the chord sequence for Yesterday. If we think of it in the key of G (as those are the chord shapes used on the guitar, but actually tuned down a full tone so really in F) I've seen the non-diatonic chord F#m7 explained as lydian modal interchange, but maybe better viewed as the start of a II V I sequence leading to Em. And later the A7, another non-diatonic chord, being a secondary-dominant that doesn't resolve to it's V chord etc.
Something and Can’t Keep My Eyes Off Of You are two of my all time favorite songs. I also really like Kiss Me. I think I just discovered the key to my musical taste. Pun very much intended.
Paul also used it in Maybe I'm Amazed ("maybe I'm amazed, and maybe you're the only woman who could ever help me..."), and John used it earlier in Strawberry Fields ("let me take you down, cuz I'm going to...").
Bach's prelude BMV 1006 has this really nice arpeggio sequence bar 17 (where he mostly changes one note at a time in the chords) that begins with this progression.
A progression I would love you discuss is I - I7 - IV - iv. Looped it's Lucy in the Sky or Nobody Does it Better, but if you add a turnaround it's My Way or Saints Go Marching In or Sloop John B or a hundred others.
Great video. I'd love to see a series where you take one particular song in each video and do the similar breakdown of chord progression and harmony, maybe even melody and bass. That would be a dream come true
The original version of the main theme from Banjo Kazooie doesn’t have line cliché. But Hugo Junstrand does put some line cliché in his version of it after the first 2 chords. It begins on the 1 chord, goes to the 4 chord, and then when it hits the 5 chord for a buildup, then there’s line cliché. In this case it goes G major (G being the fifth chord in C major which is the key this song is in), G augmented, G 6, then G 7 before then going back to the tonic. Come to think of it, line cliché likely comes in very useful for building tension, kinda like slowly going up the first slope on a roller coaster.
A couple examples that come to mind: one is the chorus of "Told You Once" by The Apples In Stereo, which is already a very 70s-era McCartney-sounding song, so it's appropriate that a different Beatles influence find it's way in. The other is parts of "Medio-core" by NoFX, and there they use it in a more tongue-in-cheek way, even using cheesy 70s easy listening horns at the end, to evoke formulaic feel-good music that just regurgitates past trends.
If you're looking for suggestions, idk if there are a lot of other examples of this chord progression outside of my source, but I'd love to hear your take on it: vi - V- I - IV I call it the "Friendship is Magic" progression because I mainly hear it in a lot of the songs from My Little Pony: Friendship is Magic. It's clearly a variation on the "four chords of pop," but isn't quite the same.
How about a similar line cliche ascending instead of descending? i.e. I - I aug - I6 - some secondary dominant. Gilbert O'Sullivan - Alone Again comes to mind
I'm not good at this theory stuff but love watching/listening to it. To my ears the Road Stewart song you used reminded me instantly of This Ain't A Love Song by Bon Jovi. Listening to it back again it sounds like a very similar progression to Something to me. I certainly get the line cliché feel
Tyvm for posting this up! Idk what it is,but there's just "something"(pun intended lol) about this progression that's just so beautiful yet heartbreaking & melancholy,and it always pulls on my heart strings.The Beatles were masters of this,and so are a lot of my other musical influences(CSNY,The Eagles,Bread,Eric Clapton,Jim Croce,Jason Isbell,etc).I've even used it in a lot of my own songs.
The Carpenters (sort of) used the extended version as C CM C7 F Fm C/G D7/F# (for 3 beats) G7. I just don't remember which song it was! Edit: "Goodbye To Love"
Most of George Harrison’s most prolific songs are from a few years right before and after 1970. They were all made by him noodling about the arch-typical «D-shape» Chord on the guitar(sometimes with Capo). Characterised by the typical 5th-root-3rd voicing as starting point. In Somethings case, the top note is saved for the bridge. Usually a riff/hoook, main melody and chord progression of the verse are all derived from it. Something, Here Comes the sun, Isn’t it a pity, All things must pass, Give me Love, even the bridge he helped Clapton write for «Bridge/Badge» has that central open Major guitar voicing derived from the «D-shape» featuring prominently. Just an observation. Try it for yourself;-) Just fantastic how a guy could derive so much material from such a simple thing!
Try out the new BBC Symphony Orchestra Piano plugin for yourself: bit.ly/42TGj0k 🎹🎹🎹
Have you ever done a video on the "Zelda" chords, using the flat 7 and flat 6? Or just exploring the genius of Koji Kondo in his Zelda, Mario, Nintendo compositions? Thanks for all the great content!
I haven't seen a vst sponsor a youtube video before. I have way too many pianos already, but if this trend continues my wallet will be unhappy.
well done good soul, nice shirt!
god bless.
Another song that uses this chord progression is the one you're improvising at the end of the video.
Hope that helps.
The Carpenters use this following extended progression at the end of Goodbye To Love: (when FX have basically multiplied Karen's voice into 4-part harmony)
All chords except the last two (D7 lasts for 3 beats, played on beats 1 and 3, and G7 only lasts for one beat) last for 2:
C CM C7 F Fm D7 G7
In an Aimee Nolte video about 3 years ago, the Nolte kids helped her identify such songs for multiple progressions!
“Something” also has the classic Am - Am(maj7) - Am7 - D7 walkdown, over the lyric “I don’t want to leave her now.” Similarly a satisfying chromatic walkdown.
I call it the “stairway” progression from the Zeppelin boys. Also in “ain’t no mountain” from Marvin Gaye at the start.
Also I me mine has it
Yeah, this one also satisfying to play on guitar
You can keep walking that down, can’t you. Nice on guitar starting at the 5th fret. Am - Am add 7 - Am7 - D - Dm - Am - B7 - E. A in the bass most of the way and the line cliche (A G# G F# F E D# E) on the 4th string. Sounds familiar?
I always thought it was a D9. That's how I've been playing it at least and will continue to do so, think it sounds a lot better :D
I have ADHD and I've spent years trying to learn more music theory and getting frustrated by everything being either too basic or too technical, and you have struck just the right balance for me lately and I am very grateful! I'm finally getting songs actually written completely and actually published and it is a wonderful feeling. I've been doing homework by writing a song in whatever chord progression you cover in these videos and it is fun and helpful.
I'm also an aspiring songwriter with ADHD and this sounds like a great exercise!
This is so cool!
I also try to write music and for me aswell those videos are great inspiration and make me progress.
Where can I find you music?
Why do people with ADHD constantly feel the need to announce that they have ADHD?
@@pensivepenguin3000because society has lots of obstacles for people with ADHD and when people find solutions to overcome these obstacles it makes them happy and sharing things with people is a fundamental part of the human experience
lol i understand this stuff but the adhd makes it hard to do any fucking thing for me lololol
The onscreen graphics showing the chords and the piano keys are always superb-they make your explanations crystal clear!
And for me, much easier to play along with :)
Kokomo (Beach Boys) has a very interesting variation of this extended chord progression.
Instead of doing:
C Cmaj7 C7 F Fm C, it goes
C Cmaj7 Gm7 F Fm C
Note that both the C7 and the Gm (or Gm7) have the B♭ note to create the same half-tone descending effect.
Not only that, but the whole verse is:
C Cmaj7 Gm7 F Fm C D7 G7 and back to C in the next verse.
That creates the half-tone descending sequence C B B♭ A A♭ G G♭ F and E, but in addition, G7 C (which is the perfect cadence due to the B C notes sequence) also has the D C notes sequence which, although it is a full tone instead of half, closed the loop back to C where it started.
So does Hooked On a Feeling! (Only thing: I think it uses a C7/Bb instead of Gm7)
Also the outro of "Goodbye to Love" (C CM C7 F Fm C/G D7 G7)
I was searching for someone who thought of Kokomo as well when hearing this chord progression and luckily you delivered the whole theory in bonus ;-)
@@zschokks5583 ... Believe it or not, I don't know anything about music theory other than what I learned in this channel.
Lol I kept humming kokomo through the video, then went looking to see who else was thinking it 😂
One of the best of the chord progression series. Wish this kind of explanation was around 40 years ago!
I totally agree. We would have needed paid for lessons to learn this. TH-cam is an amazing resource for learning music.
There's this popular song called "Hidhhda hidhhdai" in Nepal by the band '1974 AD' and it uses the same progression starting from D. When I listened to Something for the first time, it sounded so familiar but I couldn't point out why. It makes sense now
I'm a self-taught guitar player who learned completely by ear without even knowing scales. It's just in the last couple of years that I've learned to understand modes to some degree. I absolutely love these videos. Even when I've written songs, it's all been by ear, sometimes by picking the notes of different chords out on the strings and frets without even knowing what they are.. Knowing a little bit of theory is really a gift. Thank you.
If you need help or looking to learn songs like "Something", visit my channel! Request any song or lesson and I'll make a video on it.
Same! I’m enjoying theory as I’m getting older but had no idea when I was first learning!
Wow, you are a better man than me... I am tone deaf - I would not be able to distinguish between the various pitches. I would definitely not be able to learn by ear. I am a visual learner. So my problem is being able to know what I am playing.
I didn't realize how much I personally underappreciated McCartney's contribution on bass with this song. You make me love music that I already love, even more. Thank you for that!
I've been playing this progression in variant of "Can't Take My Eyes Off You" (C Cmaj7 C7 F Fm C D Dm C) - and i think
that this is one of the most beautiful progressions out there. You get a constant descending feel and resolution is so perfect. This take got me thinking about it as just a member of a huge family. Thanks for great research that went into this video.
Literally the first song I thought of! It's truly a beautiful song isn't it.
Very similar chords to To Make You Feel My Love
I must really like that chord progression because Something, Give Me Love (Give Me Peace), Kiss Me, It Ain't Over Til It's Over, and Can't Take My Eyes Off You are among my favorite pop songs. Raindrops Keep Fallin' on My Head was a favorite when I was a kid.
The piece with a similar descending chord progression that precedes them all is the Adagio of Spartacus and Phrygia from Aram Khachaturian’s Spartacus ballet from 1954. It should be noted that Can’t Take My Eyes Off You (which clearly follows the Adagio progression) preceded Something by two years.
“Everybody’s talking at me” by Harry Nielsen has almost this. It goes to Dm instead of F (which also has that A from the chromatic line) and it also does the “Kiss me” thing of teasing by going between the Cmaj7 and C7.
Another cool thing about “Something” is that later, in the chorus, it has an ascending chromatic line.
Sinatra's MyWay has a brilliant variant. D-Dmaj7-D7-B7-Em7-A7-D. The B7 continues the chromatic descent AND acts as a secondary dominant to the next chord, Em7, which acts as the first chord in a ii-V-I turnaround back to the tonic.
Credit to the composer Jacques Revaux 👌
Brilliant job with the chord animations and the explanations. Wonderful editing well done.
I always actually thought the move to the D chord after these four chords was the coolest thing he did as well as his moving to the A major for the bridge which is awesome.
"Last Night on Earth" by Green Day comes to mind when I hear this progression. Beautiful song and I never knew it was the same progression as Something.
I'm not 100% on the chords themselves, but Last Night on Earth actually goes the other way. The fifth note of the chord steps up a semitone each chord, rather than down a semitone like in this progression. So it's a similar effect going on (the line cliche, as he calls it), but it's the opposite direction. Such a beautiful progression
Yeah Last Night On Earth is a great example of a line cliche where you play on the augmented chord: tonic, augmented tonic, 6th, 7th - IV chord, IV minor chord - tonic. Similarities to this
@@conshypYep, and he just released a video featuring that chord progression!
@@JJ_TheGreat ha just watched it earlier!
At first i did Not understand the words this man spoke
Now after watching at least 50 of David's videos,
It is making sense to me 😊
Thank you for the way you make these videos Good Sir 🎩
You are a Legend and a True Gift to music as a whole 🏆
Ty
Awesome! I believe THAT is what this platform is truly for. Cheers!
I was just figuring out Al Green’s “Tired of Being Alone” right before seeing your (as always, amazing) video. His song features not only the Something line cliché in C, but also the same progression in D, where it stays on that later, changing key.
I guess Al wasn’t really alone at all… he was in good company!
Probably tired of being alone
Natural continuation would probably be an 8-chord loop with C Cmaj7 C7 F Fm C D7 G7, it continues with that chromatic descend and nicely resolves back.
I - IM7 - I7 - IV
The I7 (borrowed from the mixolydian mode) can also be labelled as V7/IV, as it functions as a secondary dominant of IV.
Also it can be viewed as a line cliche because the progression implies a descending melodic line 1-7-b7-6.
I know very little music theory, but I've loved music all my life and I am able to follow enough of what you teach that I can understand the basic concepts. I want to thank you for that. I also appreciate your gracious attitude. Keep up the great work and maybe in future you'll offer some beginner lessons to those of us who never learned theory! Many thanks... Doug
Each new "chord progression" video feels like opening up a present. Thanks again, David.
100% and well said
George had asked Paul to keep the bass simple on Something . Fortunately Macca didn't comply . That bass part is just about my favorite of Paul's. Particularly during the solo . The first part of George's solo is a bit sparse ( sparse and perfect) and the busy bass perfectly fills in the space Harrison is leaving . Just because it's your song doesn't mean you know how the other band members should treat it
Paul’s Bass is incredible on that song, glad he didn’t take George’s request and keep the bass part simple, it would have made the song BORING, and Ringo’s fills and no hi hat during the verse’s are perfect…
Paul himself probably could have taken that advice a time or two lol
I disagree. If a band mate showed me a song they wrote and I thought I could improve it I would give him the suggestion but if he didn’t want it I would back off and do it his way because he wrote it not me. If I had a song idea I was excited about I wouldn’t want someone changing into something else. It’s about band mates respecting each other. You won’t always like each others songs but you compromise. It’d be different maybe if the band were all coming up with the song together. Kinda like the song get back where there sitting around and just start writing the song.
Who cares? The song inspired the bassline not the other way around. The song is epic with or without Bass. Ringo’s drum part is amazing as well; when a songwriter writes a gem like Harrison did, any and all band members will be inspired. That’s all that happened there thanks to George
This should be shown in every copyright lawsuit where chord progressions are at the heart of the case. It clearly demonstrates that progressions, even unique ones, are ubiquitous and part of the public domain.
Totally agree-at this point, there is no new thing under the sun when it comes to chord progressions 😎
@@BlessYourHeart254I hear a lot of people say this but there are actually more possible combinations than there are stars in the sky. Of course if you only have a 3 or 4 chord sequence that's not the case but if you look at 8 or 12 bar sequences it's easily possible to come up with truly unique sequences. For example Mitski's 'Washing Machine Heart' has a 12 bar sequence that really is unique.
My favorite use of this progression is in the exogenesis symphony by muse. Very melancholy but also very powerful.
Chord progressions can not be copyrighted.
I agree, you can't copyright a chord progression, it's ludicrous.
This is so amazing. All these songs are some of my favorite songs from these artists not even knowing this is one of my favorite chord progressions. These vids are really unlocking the piano and the theory behind it. Really appreciate them.
I have a suggestion. You have done many excellent and insightful videos on harmony with your chord progression videos and with duration/time with your time signature videos, not to mention your genre videos with the classical influences on pop music. May I suggest that you do some videos focusing on melody, especially melodic devices such as sequence, motif, fragmentation, augmentation, diminution, appociatura, passing and auxiliary notes, and suspension in melodies in the. Modern pop/rock genre. There is lots of resources to do with “classical” and jazz but not much on the pop and rock genres. Your insight would be most insightful, inspiring and educational. Thank you and keep up the excellent work.
I love this chord progression so much! My favorite example of it is in the bridge of Surface Pressure from Encanto (with the addition of the iv chord)
Meanwhile, dos oruguitas:
🐛🐛 🍆🍑
Another great video - thanks!
The first song that came into my mind using a variation of this chord progression is "Home sweet home" by Motley Crue.
It's C - Cmaj7 - C7 - F, but the bass is moving from C to B, then to Bb and back to C again.
This is the song I immediately recognized as well.
I've always seen the 2nd chord analyzed as Em/B
@@jasyynnoe8392 The notes are the same of course, but in this special chord progression with the bass moving downwards Cmaj7 over B makes more sense to me.
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The song “Us” by country rock band Poco uses a D-Dmaj7-D7-G--Gm sequence tuned down a half step to Db, thus continuing the chromatic walk down.
The chord progression shown on 4:14 was made famous in Brazil by Roberto and Erasmo Carlos' "É Preciso Saber Viver".
your videos make it so simple to be able to visualise!! i wish i’d had a teacher like this when i was studying music, it may have been more enjoyable:’)
I'm glad you find them useful 😁😁
David, You always amaze me with your relevant,, concise, and detailed content. I really appreciate your song examples. Thank you so much. You’re the best!! 👍
Omg I'm so glad you mentioned "Give me love" one of my favourite songs ever ❤ I love George
My personal favourite eurovision song from this year "Tell me more" - TuralTuranX uses this progression with the IV iv I, with D, Dmaj7, D7, G, Gmin, D, A
^ The comment I was looking for! :D
That was one of my favourites as well from this year!
Color of your life from Poland 2016 also uses "line cliché" in the verse with
C, Cmaj7, C7, A7 and then Dm, F+, F
The Rain Song by Led Zeppelin has that Something feel too. Love this video so much. Thank you.❤
Yes, Jimmy Page used the Something progression at the beginning of the song in response to Harrison complaining that Zeppelin never did ballads.
"Strawberry Swing" by Coldplay is particularly interesting in this case because as far as I know the bass note under the C7 chord changes within the repetitions of the progression
Cuban artist Silvio Rodríguez has also a wonderful song that uses this progression: La era está pariendo un corazón (The times are giving birth to a heart).
Also when David talked about the line cliché, I remembered Silvio's "Ojalá".
Sir Paul couldn't've explained it better himself. Thank you. Best! :)
Awesome! I’ve been waiting for this video. There is something so satisfying about that chromatic descending line. I would seriously listen to a playlist of nothing but songs that use it.
The Rain Song
Led Zeppelin
George told one of the members (I think it might have been John Bonham but not sure) that their music was good but they couldn't write ballads, The Rain Song was their reply.
Thanks for making such great instructional videos and for choosing interesting sponsors! I just found them today and am binging.
"Strawberry Swings" is my favorite Colplay song and I never noticed the wonderful chord progression of Something who is one of the best song of my favorite band... Thanks a lot David I'm stunned!!!
I love the way you teach David. Thank you so much for this it’s a pleasure to watch.
I cannot upvote your videos enough, this is perfect. You are very gifted at explaining things!
Can’t possibly like this twice. Thank you sir for this precious professional knowledge.
This was a great one!
Idea for a new video you ask? How about: Songs with "line cliches that ASCEND"?
And aren't necessarily limited to staying on one chord, as you touched on in this video.
Your analysis of harmony is THE reason I love this channel so much. :)
In the Adele song 'Feel My Love' it sounds like that song takes it further; After running down the cliche to the next dominant chord (C to F in this example) The chord progression of the song then continues with another cliche run down from the half-resolve F back to the C.. (Im calling the F in Something as a Half-resolve cos its half way through the scale from C to C).
Make You Feel My Love is the third time Dylan used the progression! Transposed into C:
Simple Twist of Fate: C - C/B - C/Bb - F - Fm (referenced by David)
You Changed My Life: C - C/B - C/Bb - F - Fm6
Make You Feel My Love: C - G/B - Gm/Bb - F/A - Fm/Ab (and as you observe, continues the cliche as far as it can go, much like the clingy narrator of Dylan's rendition who won't give up)
“Waste” from Phish also uses this chord progression. D->Dmaj7->D7->G->Gm->D
This reminds me of John Hartford's "Gentle on My Mind" as recorded by Glen Campbell. That chord progression is C Cmaj7 C6 Cmaj7 and then to Dm Dm^7 Dm7 G7. It's a strongly leading line cliche with a sweet sound. Love your explanations, BTW!
thanks so so much for using my Bob Dylan cover - that surprised me on a surreal level to hear ~
-Kai
Kokomo has that IV-iv change too. Amazing video as always!
Radiohead also does the same thing in Planet Telex as in Kiss Me. The same chords too. It's really interesting how one chord progression can work in two completely different styles of music.
A well-known song in the French-speaking world that uses that very same progression is "Sensualité" (1993) by Belgian singer Axelle Red.
What a great post. Thanks for all the research and effort that went into making it. It's really interesting and inspiring me to get playing! 👍
My favorite example of a line cliche - and imo the only one that doesn’t instantly old fashioned - is from Rush’s song 2112, during the Discovery section.
nice One!
Excellent Tutorial. Learning so much from your teaching.
Every time I hear this chord progression all I hear is “It Ain’t Over ‘Til It’s Over”, Lenny just owned it
@ 5:27 I knew it reminded me of a certain song but I couldn't point my finger on it till you play this one. For some odd reason, all these songs sound quite sad to me as if something is coming to an end and maybe the progression is built up that way. Ironically it's in the Major key. Probably the last closing song a band or artists performs. In any case, besides the educational value, it's not a sound that is inspiring to me. I know it's subjective and I try to stay away from abstract terms when coming to these sorts of conclusions but It's interesting to me how we all have the ears that appear the same, but we all hear aspects of one of the things that make up a song differently, almost in a similar way we see things with our own eyes or perceive a thought or message differently depending on who receives it and and how they process it based on their biases, experience and understanding.
Music goes way beyond that though, as the harmonics syncronise with natural biorythms in your brain AND your body physics AND whatever is in your suroundings too.
@@penfold7800 I get the point you're trying to make but things like those are frowned upon by academics. I don't consider myself an intellectual based on my pursuits., because I have desire to study these concepts beyond the basic surface level stuff, but I do find cymatics and it's relation to be music interesting, as well as a few other things that should probably be a left at a coffee table discussion at best.
I do believe there's a very good reason why someone like me I finds a song like Simon & Garfunkel - Scarborough Fair, a lot more inspiring and puts me a good mood despite it's sad song, it has a farewell sort of sound. Now I'm fully aware that someone else can hear the exact same song and think it sounds stupid and aren't compelled by it, a totally different reaction. I think it's for reasons that can't be explained in a textbook... But going back to my last point in my OP. I had a hippy teacher in school, and she often carried a her guitar with her and played these songs for us and it was more of a group activity rather than a performance, I remember the songs having the same quality as "Scarborough Fair", so that's probably why I have an affinity to that sound. I'd imagine its the same for others who react the same way to the songs with the 'Something' progression.
Meanwhile, dos oruguitas:
🐛🐛 🍆🍑
The bridge/ prechorus in “I can’t go for that” uses this progression too C Cmaj7 C7 then resolves on Fmaj7 so almost the same. Thanks again for another interesting and entertaining video.
Best piano tone quality of any of your video’s. Ever.
Hi David, I think the IV-iii-ii-I progression would be worth exploring, personally this one gives me the most nostalgic vibe. Cheers!
Likewise I-ii-iii-IV eg Juliet by The Four Pennies
I’m just about to learn this song on piano and this video showed up on my homepage 🎉 thanks a lot for making my day and the nice illustration of this beautiful chord progression 🫡
Very interesting and useful course, David! It's very professional!
Thank you very much for your work! I've subscribed.)
Knowing a fair bit about music theory myself, I like the parts most where you describe what it feels like, what character or color a certain progression produces.
That’s a really beautiful progression!
I play guitar but I love your channel because I'm trying to learn how to play the piano you are an awesome teacher thank you for sharing all your hard work❤❤❤❤❤❤❤❤
"Can't take My Eyes Off Of You" extends the downward run further by going to the II7 before resolving to the V. Another song to use the progression is BJ Thomas's "Another Somebody Done Somebody Wrong Song".
Bell Bottom Blues uses this move too.
A-AMaj7-A7.
Thanks for these progression videos. It is helping this blues guy, stuck in the 1-4-5. And the 70s.
Elton John's "Your Song" has a similar progression - In the "I hope you don't mind" section. It's in the minor key, skips the major 7th chord, and the movement is in the bass - Bm-Bm/A-Bm6/G#-GMaj7 (the G in the bass turning the Bm into a GMaj7). Another classic line cliche I suppose. That must be used elsewhere too?
Quality video, David, as always. Would be good to see a video explaining the chord sequence for Yesterday. If we think of it in the key of G (as those are the chord shapes used on the guitar, but actually tuned down a full tone so really in F) I've seen the non-diatonic chord F#m7 explained as lydian modal interchange, but maybe better viewed as the start of a II V I sequence leading to Em. And later the A7, another non-diatonic chord, being a secondary-dominant that doesn't resolve to it's V chord etc.
Something and Can’t Keep My Eyes Off Of You are two of my all time favorite songs. I also really like Kiss Me. I think I just discovered the key to my musical taste. Pun very much intended.
So glad you put in Saltwater, it was all I could think about as you were playing that chord progression!
Very well done David. This is a very satisfying video.
one of the most popular songs in brazilian history uses this progression, É preciso saber viver, from erasmo carlos, popularized by "Titãs", uses it
Paul also used it in Maybe I'm Amazed ("maybe I'm amazed, and maybe you're the only woman who could ever help me..."), and John used it earlier in Strawberry Fields ("let me take you down, cuz I'm going to...").
Well done! Nice to hear the pretty descending line brought out (voice leading for the win yet again!)
Bach's prelude BMV 1006 has this really nice arpeggio sequence bar 17 (where he mostly changes one note at a time in the chords) that begins with this progression.
A progression I would love you discuss is I - I7 - IV - iv. Looped it's Lucy in the Sky or Nobody Does it Better, but if you add a turnaround it's My Way or Saints Go Marching In or Sloop John B or a hundred others.
The chord progression from while my guitar gently weeps is a really great one, and i dont know any other songs that use it
Absolutely wonderful content David ! Thanks !
Great video. I'd love to see a series where you take one particular song in each video and do the similar breakdown of chord progression and harmony, maybe even melody and bass. That would be a dream come true
The original version of the main theme from Banjo Kazooie doesn’t have line cliché. But Hugo Junstrand does put some line cliché in his version of it after the first 2 chords. It begins on the 1 chord, goes to the 4 chord, and then when it hits the 5 chord for a buildup, then there’s line cliché. In this case it goes G major (G being the fifth chord in C major which is the key this song is in), G augmented, G 6, then G 7 before then going back to the tonic. Come to think of it, line cliché likely comes in very useful for building tension, kinda like slowly going up the first slope on a roller coaster.
Telephone Line by ELO and Can't take my eyes out off you by Frankie Vialli, other examples
A couple examples that come to mind: one is the chorus of "Told You Once" by The Apples In Stereo, which is already a very 70s-era McCartney-sounding song, so it's appropriate that a different Beatles influence find it's way in. The other is parts of "Medio-core" by NoFX, and there they use it in a more tongue-in-cheek way, even using cheesy 70s easy listening horns at the end, to evoke formulaic feel-good music that just regurgitates past trends.
This cord progression really reminds me of the progression used in the Toccata from the 5th Organ Symphony by Charles Marie Widor ❤
If you're looking for suggestions, idk if there are a lot of other examples of this chord progression outside of my source, but I'd love to hear your take on it:
vi - V- I - IV
I call it the "Friendship is Magic" progression because I mainly hear it in a lot of the songs from My Little Pony: Friendship is Magic. It's clearly a variation on the "four chords of pop," but isn't quite the same.
7:00 casually riffs some of the most beautiful lines I've ever heard 😮💨
as always: so well presented - a real joy to watch!
Really enjoyable and informative - Many thanks David.
this is my favorite progression ever
How about a similar line cliche ascending instead of descending? i.e. I - I aug - I6 - some secondary dominant. Gilbert O'Sullivan - Alone Again comes to mind
Excellent, David,thank you.
I'm not good at this theory stuff but love watching/listening to it. To my ears the Road Stewart song you used reminded me instantly of This Ain't A Love Song by Bon Jovi. Listening to it back again it sounds like a very similar progression to Something to me. I certainly get the line cliché feel
I thought the same. As soon as I heard Rod it immediately took me to Bon Jovi. I just had to put it on to check.
The Simple Twist of Fate example is my favorite! It's in Open tuning as well
Tyvm for posting this up! Idk what it is,but there's just "something"(pun intended lol) about this progression that's just so beautiful yet heartbreaking & melancholy,and it always pulls on my heart strings.The Beatles were masters of this,and so are a lot of my other musical influences(CSNY,The Eagles,Bread,Eric Clapton,Jim Croce,Jason Isbell,etc).I've even used it in a lot of my own songs.
The Carpenters (sort of) used the extended version as C CM C7 F Fm C/G D7/F# (for 3 beats) G7.
I just don't remember which song it was!
Edit: "Goodbye To Love"
Most of George Harrison’s most prolific songs are from a few years right before and after 1970. They were all made by him noodling about the arch-typical «D-shape» Chord on the guitar(sometimes with Capo). Characterised by the typical 5th-root-3rd voicing as starting point. In Somethings case, the top note is saved for the bridge. Usually a riff/hoook, main melody and chord progression of the verse are all derived from it. Something, Here Comes the sun, Isn’t it a pity, All things must pass, Give me Love, even the bridge he helped Clapton write for «Bridge/Badge» has that central open Major guitar voicing derived from the «D-shape» featuring prominently.
Just an observation. Try it for yourself;-) Just fantastic how a guy could derive so much material from such a simple thing!
The song Always Something There to Remind Me also has this during the verse. "I walk along the city streets, you used to walk along with me."
Another song that uses this progression with the minor 4th is "Tie a Yellow Ribbon Round the Ol' Oak Tree", by Tony Orlando & Dawn.
Great video! The bridge in Surface Pressure from Encanto uses the minor 4 version of this progression too
Meanwhile, dos oruguitas:
🐛🐛 🍆🍑
@@envymashups that too! I bet it shows up in some other of Lin’s works then haha
@@Steveofthejungle8 🍆🍑
Enjoyable as always David.