Thanks to Sub:Om for sponsoring this video! sub-om.com/ 🎸🎶 📌TYPO: at 2:10 I had written "E" as the last chord in the Panic! At The Disco song when it should be "C#" so I have now blurred that chord out. Sorry for any confusion and thanks to those who drew my attention to it.
Video idea: A look at why the Stock Aitken Waterman hits of the late 80s like Never Gonna Give You Up and Too Many Broken Hearts etc. sound so similar and why they're all so catchy
@@terrapin323The Roman Numerals are better than the Nashville numbering system that is a rip off of the Conservatory roman numeral system. Yes I prefer the chord names however.
And here I was wondering whether the chord names accidentally spelled out a swear word that would get you demonetized... But no matter how I tried, (F#m)DAC# didn't resemble anything remotely profane.
That is absolutely correct, particularly if the chord is actually the V7 chord. Many “temporary” modal modulations can be seen as the insertion of one or more secondary dominants.
@@DavidBennettPianoit just appears blurred out/censored now, is there supposed to be a correction on there? I’m on mobile casting to my TV, so apologies if I don’t see it, but I was extremely confused when I saw that the last chord of the Arctic Monkeys (edit: Panic at the Disco!) song was blurred out for some reason, lol.
i wrote a song with this chord progression and contacted david about it because i had a feeling i’d heard it before. he answered me super quickly, gave me helpful information and was very nice. thanks for the video!
@@MonadTransformer да, действительно! Хорошее замечание про "Мою оборону" и размер 2/4) Я думаю, что гармонический минор любили и всевозможные блатные песняры до Летова и после него. Но Летова уважаю, за то, что делал такие песни не пошло, звучащие остро в своем панк-рок стиле. Ну, и тексты, конечно, поражали своей смелостью и бескомпромиссностью в свое время.
You can also use the regular axis of 12 progression Am F C G first, but then add the E afterwards there to increase and extend the tension/build up right before the chorus kicks in again (assuming both chorus and verse us this progression of course). However, this can always be added that way, even if your song is in the natural minor. It's interesting to watch Davids videos as they teach me the theory behind things I naturally gravitated towards before knowing any theory.
An alternate way could be a cycle of Am Dm E Dm 3 times and switch to this by going from F (as a replacement for C) the 4th time to enter the loop. (I think that's what "We Don't Talk About Bruno" does)
Ev'ryone's naturally inclined towards the major scale, or from some point in it. The leading note is natural for the major home or artificially created, for the minor. No need to over-intellectualise.Or artificially make things complex.
I just started to play this progression on guitar and recognised song from russian punk group Гражданская Оборона "Все идет по плану". Din't knew that same progression used in Beatles song 🙂
Green Day has always been one of the best to me, in the sense of being one of the most musical punk bands, ever. SO many of their songs take ultra familiar changes like these and write absolutely perfect lyrics and melodies over them. I would love to see you do some Green Day dedicated videos on your channel.
just a small point: the passenger is definitely the song all those pop punk songs are drawing from (*especially* green day) but worth noting the example of UFO's doctor doctor is also using the variant that switches between the two. very influential song that's been covered a billion times
Rather than E, you could use Em instead. The tone of the chord progression changes quite a bit, and it perhaps becomes a lot more static at that fourth chord, but it's still perfectly valid and good-sounding.
Or use both - Em in the middle of the verse and E at the end of the verse, creating tension leading into the (pre-)chorus, for example. One example would be Amsterdam by Jacques Brel (which doesn't use the axis progression as such, but still) which uses both the minor and major version of the V chord.
Thank you for mentioning that the proper labeling for the progression starts with i rather than vi. I'd always labeled it as i-bVI-bIII-bVII because the third chord, while being the relative major of the first, never felt tonic.
I honestly can’t remember if David has included a SOAD example but it definitely made me happy to see Lonely Day, I love that song and it’s definitely one of my favourites from them
Man I wish we had roman numerals on the thumbnail instead. The actual first thing i did when I saw this video was think to myself "What are the roman numerals for these?" and spent the 20 seconds to figure it out.
I love the minor axis progression. It's creates such a dramatic background without beeing dissonant. The harmonic variation is a bit spicier and in combination they sound awesome. I also found a variation where the axis progression starts on the IV chord. It's in the verse section of Madonnas "like a prayer".
In case you're wondering, this is NOT the progression for "Lick My Love Pump" by Spinal Tap. But it is (as David said) a close cousin. So maybe play "Lick My Love Pump" in this mode if you want to seduce your cousin.
Bro it’s a simple chord progression. Not everything the Beatles did was something they invented. I hate when people say the Beatles invented all these things when they already existed beforehand. Yes they are a good and influential band, but honestly when it comes to the 60s they’re probably only the 3rd most influential, after Bob Dylan and Jimi Hendrix
6:06 I still prefer to always use the numbering relative to the major key, as in Am is vi, not i. It's just easier to have one set of numberings, and there is the case to be made that the minor key is a mode of the major.
I like to see everything from the major perspective but not in the way you're talking about. I like to read them from the parallel major's perspective. For instance, if a song is in A minor then I write out the chords from the perspective of A major, which is the standard thing most people do I think. This means that for example Am - F - C - E would be i - bVI - bIII - V instead of i - VI - III - V. What you're talking about is different because you're saying you look at it from the relative major perspective so from your pov the same chords are now vi - IV - I - V/vi which is perfectly valid but sort of implies that C is home and not A, which is why I prefer the other way.
Изнасилованная русским роком последовательность 😂 Русскоязычные люди, впитывают это еще в утробе))) У Саши Зилкова на Нескучном саунде есть видео, где он объясняет откуда берётся аккорд Е в тональностях C/Am. Ну и справедливости ради Em, вместо Е дарит тоже очень крутую краску.
Please may you do a video on Todd Rundgren's music? A harmonic analysis of his works to be specific, he barely gets any recognition online as a composer by other music channels.
This reminded me of a theme in the music of the series “The Leftovers”. What I think I remember might not have been the same chord progression. But David‘s introduction on the piano had a mournful sound, and I recall something like it being used to great effect on the show, fitting well with the themes of its story.
@@PrepucioJudeu That‘s it! I found it here on TH-cam (can‘t link, search for “The Leftovers soundtrack”). Also “A Blessing”, which I believe is the same theme featuring strings. I‘m fascinated that David featured its chord progression and the memory of that music came on so strongly. The soundtrack was stellar, haunting and sorrowful and filled with longing.
Maybe that's one of the reasons why I love Green Day so much. And these three songs you showed are one of my favorites. Definitely need to experiment with this progression muself.
Hey Dave, I love your channel and the stuff you talk about. Even though I don't understand a lot of it. Can I ask? I'm learning Stitches by Shawn Mendes and the chords are Am, G, C, F. Which I would have thought was 1, 7, 3, 6. But I can't find anywhere on your channel about this progression. Is this right? with a 7th in it, not to mention a 6th? I don't understand. Thanks again for your time and effort.
I’m glad you like the videos 😊 Am G C F is either 1 7 3 6 in A minor or possibly vi V I IV in C Major. I’ve not actually done a video on that exact progression before so perhaps it is one for the future 🙂🙂
Could you do a video about the Am G F7 E7 cord progression, the descending stepwise but in minor I think its a very common one and has many related ones such as the one where its just F major, or where theres Am7 instead of G Or even chromaticaly descending stepwise with augmented and half diminished 7th chords Notable examples of the first one are hit the road jack and street cat strut, of the second could be megalovania, and of the third everybody wants to be a cat
I've seen a variant of this progression in a lot of songs where it starts on the I major chord rather than the vi minor chord, making a I-III-vi-IV progression. Two songs I can name with the progression are "Snowman" by Sia and "Love in Black and White" by Mars Argo.
There's at least one song by Miracle of Sound that uses this progression - All as One! It's a great song, would recommend to anyone who likes symphonic/power metal. Like the Green Day examples, it starts as the plain minor version then ends its chorus, in the harmonic, though it throws in an extra IV right before the harmonic minor V chord. It's even in the same key as 21 Guns.
I'm a HUGE fan of MoS! His recent song "Skål" uses this progression... sort of. It actually replaces the V chord with the minor v chord and then cycles back to the original minor axis progression. The sequence of the chords in the chorus is: i - bVI - bIII - v I - bVI - bIII - bVII or: Em - C - G - Bm Em - C - G - D
You could talk about the major version of this progression (I - III - vi - V) used for example in Hawaii by Maluma or in Happier than ever by Billie Eilish
Being a big Alter Bridge fan, one of my favorite examples is the bridge and first guitar solo of Blackbird. It’s in F#m (guitar is half step down, so it’s played as Gm).
I feel like at least one song from Encanto (I think it's either "Surface Pressure" or- maybe for a little bit, possibly during the chorus- "We Don't Talk About Bruno") has this.
When I see the flat in front of the Roman Numeral my brain automatically thinks to lower the chord in that minor key by a half step, so for III I'd be looking at it like it"s telling me to play a 'Cb' or B if you will.
I'm not sure I agree with this analysis because there is a clear V i resolution from the last chord to the first chord which is totally unlike the axis chord progression which has no such strong cadence. That lack of strong cadence is one of the defining features of the axis progression which gives it the infinite looping property. The strong resolution in this progression also means that the first chord is clearly the tonic i chord, not the vi chord. So this is really much more like the doo wop changes (I vi IV V), whereas this is i VI III V
Great video. I’ve written charts for years and always use the “relative major” of a song in a minor key. This is the relationship between a minor and major scales that share notes. For example, if the progression starts on Am then write the whole chart in key of C. The relative major of a minor scale is the same as asking “what major key is this minor chord the 6 minor of?” 6m 4 1 5 is much easier to communicate and understand than 1m b6 b3 b7. The hard thinking is only done by the chart writer and the band can jam!
Another example is Rata Blanca's "Aun Estas En Mis Sueños", the chorus goes exactly: G#m - E - B - F#m G#m - E - B - D# Just like some examples in the video
There's very popular soviet punk rock song, very widely spread in post soviet countries, it's called "Все идёт по плану" ("Everything is going according to the plan")
Another example of this progression is the famous song of the Soviet Union/Russian band called "Grazhdanskaya Oborona" ("Civil Defence") called "Vsyo Idyot Po Planu" ("Everything Goes According to Plan").
Great video david!!! I was thinking if you could do a video on one of my favourite chord progressions!!! IV/ii/vi/I on the major scale or VI/iv/i/III on the minor scale..... this progression is used on sweater weather by the neighbourhood, so you could call it that!!!!
Do you know of any specific songs that use the "I Will Survive" progression? i - iv - bVII(7) - bIII - bVI - ii°7 - Vsus4 - V(7) Or in the most basic chords: Am - Dm - G(7) - C - F - B°7 - Esus4 - E(7) I've heard it several times but can't remember many specific other songs that use it
Topic suggestion based on Beato's Jimmy Webb interview: SONGS THAT ARE IN A KEY IT NEVER GOES TO IN THE SONG 29 MINUTE 48 SECS about James Taylor's phone call th-cam.com/video/j8pRKAgMaP4/w-d-xo.html any Beatles, Radiohead (ha ) songs do this?
Just curious. Why would anyone look at the progression from a major key perspective if you clearly label the 1 chord as Am (i) then note the following chords from a major perspective? Very confusing. i VI III V seems fairly simple.
In regards to the numerals. You can either add the literal chord name (i.e. VI F implying i Am) or show the entire progression and leave the key ambiguous. Writing a "VI" chord without any context makes no sense. Playing a major 6 chord from the major sixth degree gives a b9. And a tritone on the 5th degree. Idk, but it seems to me that such a radical chord would warrant an accidental not the other way around. If I saw a piece of sheet music, and there were flats in front of the major chords in a minor key it would be more confusing to me. Especially if one VI chord didnt have a flat. It would seem like a typo. If every chord was written without a flat it would mean raising the 6 (i.e. #VI) implies moving out of the key and it would instantly stand out from the rest of chords which just makes infinitely more sense to me.
2 things: someone once mentioned to me that he thought Jennifer Anniston reminded him of Iggy Pop and now I can’t unsee it; and I must now go watch the Axis of Awesome for the two hundredth time.
I think adding the b's while you're analyzing in the context of relative minor is erroneous and distracting - the chord qualities are still the same if you're working in a relative minor key, regardless of whether you're aware of the relative major or not. I guess it's only necessary if there's a distinctive key change mid-song that might be outside of the initial key, but the chords themselves will indicate that. If you're using one of the minor keys that are not relative however, then you should specify granularly what chord qualities are used.
When it comes to the (non-harmonic) minor axis progression I feel we're still in a major key and that the progression should be labeled as vi IV I V. The presence of F and G which are respectively the subdominant and dominant chords of the C major scale really makes me hear the note C as the tonic, even though the first chord of the progression is Am.
With the flat roman numerals, you are so annoyingly and absolutely correct, but god does it make it easier without them, especially when you’re had a few beers and just want to jam along 😇
Thanks to Sub:Om for sponsoring this video! sub-om.com/ 🎸🎶
📌TYPO: at 2:10 I had written "E" as the last chord in the Panic! At The Disco song when it should be "C#" so I have now blurred that chord out. Sorry for any confusion and thanks to those who drew my attention to it.
Tbh the chord names are better than the roman numerals because you don't have to do any mental math for it to sound interesting
Video idea: A look at why the Stock Aitken Waterman hits of the late 80s like Never Gonna Give You Up and Too Many Broken Hearts etc. sound so similar and why they're all so catchy
@@terrapin323The Roman Numerals are better than the Nashville numbering system that is a rip off of the Conservatory roman numeral system. Yes I prefer the chord names however.
I was hoping the typo was something like f**k or c**t, but I'll take your word for it.
And here I was wondering whether the chord names accidentally spelled out a swear word that would get you demonetized... But no matter how I tried, (F#m)DAC# didn't resemble anything remotely profane.
You should make Spotify playlists of all the songs for the progression videos you make. That would be cool to follow.
I think that the III grade could also be interpreted as a secondary dominant of the vi grade. So basically you have V/vi into vi
That is absolutely correct, particularly if the chord is actually the V7 chord. Many “temporary” modal modulations can be seen as the insertion of one or more secondary dominants.
It’s just the dominant of the i. E is the dominant of Am.
I agree, but in the video Am is represented as vi and C as I , instead of Am as I grade of the minor scale and C as III
@@mattiasu96 not if you watch to the end.
2:08
I believe there is an error:
The dominant for F#m is C#, not E
Well spotted. I’ll fix that 😊
@@DavidBennettPianoit just appears blurred out/censored now, is there supposed to be a correction on there?
I’m on mobile casting to my TV, so apologies if I don’t see it, but I was extremely confused when I saw that the last chord of the Arctic Monkeys (edit: Panic at the Disco!) song was blurred out for some reason, lol.
@@TundieRiceno its meant to be blurred, i dont think you can add text through the youtube editor (or maybe you can)
@@TundieRice weird, it shouldn’t have effected the arctic monkey chord. I’ll have a look
@@DavidBennettPiano thanks for the response, I’m invested now, lol
i wrote a song with this chord progression and contacted david about it because i had a feeling i’d heard it before. he answered me super quickly, gave me helpful information and was very nice. thanks for the video!
"Noah takes a photo of himself every day for 6 years" has this
Carly Comando - Everyday
I just checked if that song actually had these chords, as it sounds like it does but I suddenly was not sure..(but yeah, it does)
The title 😂 must be an emo song.
Вы забыли про самую знаменитую песню: Все идет по плану Егора Летова!.. Какой стыд!
Хаха. Я тоже про неё вспомнил сразу же. И "Моя оборона". Летов гармонический минор любил вообще. И размер 2/4.
@@MonadTransformer да, действительно! Хорошее замечание про "Мою оборону" и размер 2/4) Я думаю, что гармонический минор любили и всевозможные блатные песняры до Летова и после него. Но Летова уважаю, за то, что делал такие песни не пошло, звучащие остро в своем панк-рок стиле. Ну, и тексты, конечно, поражали своей смелостью и бескомпромиссностью в свое время.
Я искал этот комментарий. Это первая песня которую я научился играть аккордами потому что её играли на каждом углу в 90-х.
@@ПетрМануилов-х9с у меня та же история!
You can also use the regular axis of 12 progression Am F C G first, but then add the E afterwards there to increase and extend the tension/build up right before the chorus kicks in again (assuming both chorus and verse us this progression of course). However, this can always be added that way, even if your song is in the natural minor.
It's interesting to watch Davids videos as they teach me the theory behind things I naturally gravitated towards before knowing any theory.
An alternate way could be a cycle of Am Dm E Dm 3 times and switch to this by going from F (as a replacement for C) the 4th time to enter the loop. (I think that's what "We Don't Talk About Bruno" does)
Ev'ryone's naturally inclined towards the major scale, or from some point in it.
The leading note is natural for the major home or artificially created, for the minor.
No need to over-intellectualise.Or artificially make things complex.
@@StratsRUs Where do I over intellelectualise or artifically make things complex?
Your videos are outstanding, mate. Enjoying them for quite a while.
Love from Austria
Cheers 😊
I just started to play this progression on guitar and recognised song from russian punk group Гражданская Оборона "Все идет по плану". Din't knew that same progression used in Beatles song 🙂
yeah in Russia it’s probably #1 song with this progression lol
Green Day has always been one of the best to me, in the sense of being one of the most musical punk bands, ever. SO many of their songs take ultra familiar changes like these and write absolutely perfect lyrics and melodies over them. I would love to see you do some Green Day dedicated videos on your channel.
4:00 how did i correctly guess Holiday would be the first Green Day example
Wait so the band wrote a song about Adam Neely? 8:35 8:35
Glad you mentioned that the first chord often ends up feeling like the home chord. Nice video with good examples!
just a small point: the passenger is definitely the song all those pop punk songs are drawing from (*especially* green day) but worth noting the example of UFO's doctor doctor is also using the variant that switches between the two. very influential song that's been covered a billion times
Границы ключ переломлен пополам
А наш батюшка Ленин совсем усоп
Он разложился на плесень и на липовый мёд
А Перестройка всё идёт и идёт по плану
Rather than E, you could use Em instead. The tone of the chord progression changes quite a bit, and it perhaps becomes a lot more static at that fourth chord, but it's still perfectly valid and good-sounding.
Perfectly good… just lose that harmonic minor feel as well as the pull of the dominant chord.
Amy Macdonald's This is the Life is built on this variation
between the bars by elliott smith does that, gives it a melancholic-bluesy feel in gm, cool stuff
Or use both - Em in the middle of the verse and E at the end of the verse, creating tension leading into the (pre-)chorus, for example.
One example would be Amsterdam by Jacques Brel (which doesn't use the axis progression as such, but still) which uses both the minor and major version of the V chord.
@@challalla and of course Zombie by the The Cranberries
This chord progression in the key of Am is very popular among Russian guitar songs
OH GOD THIS IS THE ВСЕ ИДЕТ ПО ПЛАНУ PROGRESSION
Thank you for mentioning that the proper labeling for the progression starts with i rather than vi. I'd always labeled it as i-bVI-bIII-bVII because the third chord, while being the relative major of the first, never felt tonic.
I honestly can’t remember if David has included a SOAD example but it definitely made me happy to see Lonely Day, I love that song and it’s definitely one of my favourites from them
i don't think he has and i've been waiting!
Actually he has in a video he made a year ago
@@royalex21 seriously?? which video
@@MintMartThis one: th-cam.com/video/9zbP0GQzUuI/w-d-xo.html
@@MintMart th-cam.com/video/9zbP0GQzUuI/w-d-xo.html
Love these chord progression videos!
Another song by Bad Religion " 21st Century Digital Boy" uses almost the exact same progression, it's even in C#min again!!
Never thought Id see him use a BR song as an example, and today he chooses one of my favourites.
Man I wish we had roman numerals on the thumbnail instead. The actual first thing i did when I saw this video was think to myself "What are the roman numerals for these?" and spent the 20 seconds to figure it out.
I love the minor axis progression. It's creates such a dramatic background without beeing dissonant. The harmonic variation is a bit spicier and in combination they sound awesome.
I also found a variation where the axis progression starts on the IV chord. It's in the verse section of Madonnas "like a prayer".
I believe David has mentioned that variation in another video. The chorus of Green Day's "Boulevard of Broken Dreams" uses it too!
Всё идет по плану
благодаря Летову везде со 100% точностью узнаю эту последовательность
In case you're wondering, this is NOT the progression for "Lick My Love Pump" by Spinal Tap. But it is (as David said) a close cousin. So maybe play "Lick My Love Pump" in this mode if you want to seduce your cousin.
Very similar to the Unforgiven/Fade to Black progression (Am C G Em or E)
So...everyone copied the 1964 Beatles song? No surprises there I guess.
Bro it’s a simple chord progression. Not everything the Beatles did was something they invented. I hate when people say the Beatles invented all these things when they already existed beforehand. Yes they are a good and influential band, but honestly when it comes to the 60s they’re probably only the 3rd most influential, after Bob Dylan and Jimi Hendrix
ГРАНИИИИЦЫ КЛЮЮЮЮЮЧ
ПЕРЕЛОМЛЕН ПОПОЛААААААМ
А наш батюшка Ленин совсем усоп
Beautifully explained, as always. Thank you, David!
6:06 I still prefer to always use the numbering relative to the major key, as in Am is vi, not i. It's just easier to have one set of numberings, and there is the case to be made that the minor key is a mode of the major.
I like to see everything from the major perspective but not in the way you're talking about. I like to read them from the parallel major's perspective. For instance, if a song is in A minor then I write out the chords from the perspective of A major, which is the standard thing most people do I think. This means that for example Am - F - C - E would be i - bVI - bIII - V instead of i - VI - III - V. What you're talking about is different because you're saying you look at it from the relative major perspective so from your pov the same chords are now vi - IV - I - V/vi which is perfectly valid but sort of implies that C is home and not A, which is why I prefer the other way.
David, isn't another plausible interpretation of this sequence: vi V I V/vi i.e. E is a secondary dominant leading back to Am?
There's also another variation that is very natural minor, vi-IV-I-iii or if you prefer to lable it i-bVI-bIII-v, often used in eurovision songs.
Изнасилованная русским роком последовательность 😂
Русскоязычные люди, впитывают это еще в утробе)))
У Саши Зилкова на Нескучном саунде есть видео, где он объясняет откуда берётся аккорд Е в тональностях C/Am.
Ну и справедливости ради Em, вместо Е дарит тоже очень крутую краску.
2:14 I think you mean C# as the III chord
Yeah, typo 😅😅😅😅😅😅
@@DavidBennettPiano yeah😅😅
"Skyfall" by Adele maybe uses it. Don't take my word for it though, I suck at music theory 😅
Oddly enough, “Forever” by the berzerker uses this progression.
Safe to say The Beatles played it first? Don’t think I’ve heard anything prior to them use this sequence
As soon as you started explaining and playing it on the piano, Muse - New Born started in my brain instantly.
I hear the harmonic minor axis progression in many Philip Glass compositions, such as "Truman Sleeps" from "The Truman Show."
Thank you so much. I knew this was familiar from a film score and I couldn't place it. It was Truman Sleeps.
Please may you do a video on Todd Rundgren's music? A harmonic analysis of his works to be specific, he barely gets any recognition online as a composer by other music channels.
kindly reminder that Egor Letov also used it in plastic world song
Phillipp Glass - "Truman Sleeps" from "The Truman Show."
This reminded me of a theme in the music of the series “The Leftovers”. What I think I remember might not have been the same chord progression. But David‘s introduction on the piano had a mournful sound, and I recall something like it being used to great effect on the show, fitting well with the themes of its story.
it's the same progression
The departure its one of the best emotional songs i ver heard, max ritcher its a great composer
@@PrepucioJudeu That‘s it! I found it here on TH-cam (can‘t link, search for “The Leftovers soundtrack”). Also “A Blessing”, which I believe is the same theme featuring strings. I‘m fascinated that David featured its chord progression and the memory of that music came on so strongly. The soundtrack was stellar, haunting and sorrowful and filled with longing.
Maybe that's one of the reasons why I love Green Day so much. And these three songs you showed are one of my favorites. Definitely need to experiment with this progression muself.
If you look at the circle of fiths G=Em so its not too far apart. Only one semitone
Ha! I must be old. I only know of the Moana and the Beatles song.
While my Guitar Gently Weeps uses both progressions too
As soon as I heard the chord progression I was like "Oh that's New Born by Muse." I was so proud of myself when that song came up lol.
Hey Dave, I love your channel and the stuff you talk about. Even though I don't understand a lot of it. Can I ask? I'm learning Stitches by Shawn Mendes and the chords are Am, G, C, F. Which I would have thought was 1, 7, 3, 6. But I can't find anywhere on your channel about this progression. Is this right? with a 7th in it, not to mention a 6th? I don't understand. Thanks again for your time and effort.
I’m glad you like the videos 😊 Am G C F is either 1 7 3 6 in A minor or possibly vi V I IV in C Major. I’ve not actually done a video on that exact progression before so perhaps it is one for the future 🙂🙂
I love chord progression vids
Could you do a video about the Am G F7 E7 cord progression, the descending stepwise but in minor
I think its a very common one and has many related ones such as the one where its just F major, or where theres Am7 instead of G
Or even chromaticaly descending stepwise with augmented and half diminished 7th chords
Notable examples of the first one are hit the road jack and street cat strut, of the second could be megalovania, and of the third everybody wants to be a cat
1:24 "What an I say except You're Welcome"
I've seen a variant of this progression in a lot of songs where it starts on the I major chord rather than the vi minor chord, making a I-III-vi-IV progression. Two songs I can name with the progression are "Snowman" by Sia and "Love in Black and White" by Mars Argo.
I only heard ONE example that I recognize, the Beatles tune. PLEASE use more examples of songs from the 60s and 70s ( if there ARE any).
another banger, I know I'm gonna be surprised with how many songs this has been used in, and the wide variety of genre!
There's at least one song by Miracle of Sound that uses this progression - All as One!
It's a great song, would recommend to anyone who likes symphonic/power metal. Like the Green Day examples, it starts as the plain minor version then ends its chorus, in the harmonic, though it throws in an extra IV right before the harmonic minor V chord.
It's even in the same key as 21 Guns.
I'm a HUGE fan of MoS! His recent song "Skål" uses this progression... sort of. It actually replaces the V chord with the minor v chord and then cycles back to the original minor axis progression. The sequence of the chords in the chorus is:
i - bVI - bIII - v
I - bVI - bIII - bVII
or:
Em - C - G - Bm
Em - C - G - D
@@frankjuggaloheathen1035 Based fellow MoS appreciator
I love that chord progression, so powerful.
The Zeebrahead song "Hello Tomorrow" uses this chord progression. "You're Welcome" reminded me of it the first time I heard it.
Well, Sub Om called their song after Adam Neely's band. So respectful!
We actually wrote it totally unaware of Adam’s band. Thank you for listening !
You could talk about the major version of this progression (I - III - vi - V) used for example in Hawaii by Maluma or in Happier than ever by Billie Eilish
Границы ключ переломлен пополам…
Can you cover the following chord progression C/E/F/G?
Being a big Alter Bridge fan, one of my favorite examples is the bridge and first guitar solo of Blackbird. It’s in F#m (guitar is half step down, so it’s played as Gm).
Yegor Letov also used this progression in his songs
I feel like at least one song from Encanto (I think it's either "Surface Pressure" or- maybe for a little bit, possibly during the chorus- "We Don't Talk About Bruno") has this.
When I see the flat in front of the Roman Numeral my brain automatically thinks to lower the chord in that minor key by a half step, so for III I'd be looking at it like it"s telling me to play a 'Cb' or B if you will.
I'm not sure I agree with this analysis because there is a clear V i resolution from the last chord to the first chord which is totally unlike the axis chord progression which has no such strong cadence. That lack of strong cadence is one of the defining features of the axis progression which gives it the infinite looping property. The strong resolution in this progression also means that the first chord is clearly the tonic i chord, not the vi chord. So this is really much more like the doo wop changes (I vi IV V), whereas this is i VI III V
Great video. I’ve written charts for years and always use the “relative major” of a song in a minor key. This is the relationship between a minor and major scales that share notes.
For example, if the progression starts on Am then write the whole chart in key of C. The relative major of a minor scale is the same as asking “what major key is this minor chord the 6 minor of?”
6m 4 1 5 is much easier to communicate and understand than 1m b6 b3 b7.
The hard thinking is only done by the chart writer and the band can jam!
Green Day on thumbnail = I click 👍
Another example is Rata Blanca's "Aun Estas En Mis Sueños", the chorus goes exactly:
G#m - E - B - F#m
G#m - E - B - D#
Just like some examples in the video
I've said it before: These chord-progression vids are the TOPS!
I can't believe you mention Bad Religion ❤
If you want to see some great harmony I recommend "Mediocre Minds", the bridge part. It's great.
There's very popular soviet punk rock song, very widely spread in post soviet countries, it's called "Все идёт по плану" ("Everything is going according to the plan")
Another example of this progression is the famous song of the Soviet Union/Russian band called "Grazhdanskaya Oborona" ("Civil Defence") called "Vsyo Idyot Po Planu" ("Everything Goes According to Plan").
i real hate this chord progression
Great video david!!! I was thinking if you could do a video on one of my favourite chord progressions!!! IV/ii/vi/I on the major scale or VI/iv/i/III on the minor scale..... this progression is used on sweater weather by the neighbourhood, so you could call it that!!!!
Do you know of any specific songs that use the "I Will Survive" progression?
i - iv - bVII(7) - bIII - bVI - ii°7 - Vsus4 - V(7)
Or in the most basic chords:
Am - Dm - G(7) - C - F - B°7 - Esus4 - E(7)
I've heard it several times but can't remember many specific other songs that use it
Topic suggestion based on Beato's Jimmy Webb interview: SONGS THAT ARE IN A KEY IT NEVER GOES TO IN THE SONG 29 MINUTE 48 SECS about James Taylor's phone call th-cam.com/video/j8pRKAgMaP4/w-d-xo.html any Beatles, Radiohead (ha ) songs do this?
Just curious. Why would anyone look at the progression from a major key perspective if you clearly label the 1 chord as Am (i) then note the following chords from a major perspective? Very confusing.
i VI III V seems fairly simple.
"It's possible that Green Day was inspired by Bad Religion's Punk Rock Song". I'd say that's a very British understatement. 😁
I’m pretty sure the song “isle of flightless birds” by twenty one pilots uses this chord progression a lot😶
In regards to the numerals. You can either add the literal chord name (i.e. VI F implying i Am) or show the entire progression and leave the key ambiguous. Writing a "VI" chord without any context makes no sense. Playing a major 6 chord from the major sixth degree gives a b9. And a tritone on the 5th degree. Idk, but it seems to me that such a radical chord would warrant an accidental not the other way around. If I saw a piece of sheet music, and there were flats in front of the major chords in a minor key it would be more confusing to me. Especially if one VI chord didnt have a flat. It would seem like a typo. If every chord was written without a flat it would mean raising the 6 (i.e. #VI) implies moving out of the key and it would instantly stand out from the rest of chords which just makes infinitely more sense to me.
2 things: someone once mentioned to me that he thought Jennifer Anniston reminded him of Iggy Pop and now I can’t unsee it; and I must now go watch the Axis of Awesome for the two hundredth time.
Всё идёт по плану.
I think adding the b's while you're analyzing in the context of relative minor is erroneous and distracting - the chord qualities are still the same if you're working in a relative minor key, regardless of whether you're aware of the relative major or not. I guess it's only necessary if there's a distinctive key change mid-song that might be outside of the initial key, but the chords themselves will indicate that. If you're using one of the minor keys that are not relative however, then you should specify granularly what chord qualities are used.
When it comes to the (non-harmonic) minor axis progression I feel we're still in a major key and that the progression should be labeled as vi IV I V. The presence of F and G which are respectively the subdominant and dominant chords of the C major scale really makes me hear the note C as the tonic, even though the first chord of the progression is Am.
i think my favorite way is to use it like, i-bVI-bIII-bVII and half way through the bVII then go to the V
6:32 this is especially true in New Born, where this chord progression caps the verse progression. The verse is Em B, Em B, Em C ,G B.
Sum 41's still waiting uses this progression if I remember correctly!
Am F C G....Verses in "What about love" by Heart, "9 Crimes" by Damien Rice
Have you ever heard of MC Lars song? Download this song. I believe this uses the same chord progression as the Iggy pop song
I fell in love with SUB:@M’s music… (🙄…just kiddin’…🤷🏻♂️)…
I don’t understand: how could one get confused mixing the major key with the minor key, if we clearly write “i” as a lower case letter first?
With the flat roman numerals, you are so annoyingly and absolutely correct, but god does it make it easier without them, especially when you’re had a few beers and just want to jam along 😇
I'm pretty sure there is also a James Bond movie title song with this progression - but I can't figure out which one. Can someone help my poor memory?
I've still yet to understand why we differentiate between two loops that start at different places, e.g. vi | IV | I | V versus I | V | vi | IV
I would be honored to sponsor one of your next videos with my music, how can I contact you??
PLEASE explain the minor doo-wop progression (vi-IV-V-I)