@@DavidBennettPiano I've always found it easy to figure out what chords singularly are being played, but recognizing the entire chord progression itself as it's own "color" is far more efficient. Giving names to all of these familiar sounds is helping my ear training a lot. Thank you David !! 😊
many people often try to frame common chord progressions like they're automatically bad because they're common, and i think it's great that this video doesn't do that. these progressions are common for a reason
Yea they’re certainly not automatically bad, but a lot of these great songs use those progressions, but use others in the song as well. Whereas a lot of cheap pop songs that come out consist of only a standard 1/4/6/5 or whatever the entire song, no creativity
“The combination of these 3 chords (I, IV, V) gives us 3 shades of tension, allowing for that sense of movement.” Best description of the purpose of chord progression! I am a elementary music teacher and always wonder how to explain that to my students. Thank you!
I studied music theory, music production, and I've been a musician for a long, long time. I stumbled on this video and I just want to point out this is one of the most brilliant ways to explain chord progressions. Entertaining, with perfect examples and explanations. Congratulations!
did you know, there is a gender that involves music theory. and nobody is inventing new genders, just finding new names for ideas that existed for thousands of years
That Mixolydian vamp (I-bVII-IV-I) is such a timeless and effective chord progression. It was especially prominent in the circa 1967-1975 classic rock era. It's dramatic and lends itself to a bluesy inflection very well.
In the Air Tonight is a great example of the Aeolian Vamp. It just lingers around until the drum fill halfway through that still blows me away after hearing the song a million times.
'Let It Be' is probably the perfect example to use at 2:48, as its words mirror its chord progression perfectly as based on your explanation: I - 'When I find myself' - Something incomplete. It could be the whole story, but that would be incredibly boring. V - 'in times of trouble' - The introduction of tension. vi - 'Mother Mary' - A partial resolution, but still something incomplete. IV - 'comes to me' - A total and complete resolution of the idea that leads perfectly into the next phrase.
Would be great if that was true, but the I chord is the most complete in a major progression, and the IV is not complete, it's unresolved. But it sounded good.
Thank you so much for this. I wrote music for decades and then had a nervous breakdown and just stopped. I couldn’t find creativity anymore. This formula helps me understand through multiple genres and multiple examples that these work on all levels. I think I can get to writing again now ❤
Love the mixolydian one. It's basically a cheat code to writing music that sounds 'anthemic'. It just makes people want to shout along with it. Primal Scream and that newer Lorde song a great examples, too.
Some more interesting 4 chord progressions: JPop / Anime progression: IV-V-(major)III-VI Another pop progression: I-(major or minor)III-VI-IV More melancholic: I-VI-II-IV Get Lucky: II-IV-VI-V Melancholic variant: I-V-II(with 7)-IV Modern Pop: VI-I-V-IV Some other pop variant: VI-IV-(major)II-(major)III
A while ago I listened to some anime songs thinking "what's the "anime" ingredient in there?" as chord progression couldn't be the only thing. If some of you have more insight on this one I'll be glad to listen.
@@MisterL777 Adam Neely has a good video on it that might help answer that question th-cam.com/video/gFXcwv9XISc/w-d-xo.html . it might also be the type of instruments used, or that it uses more extensions to be jazzier
Thank you for this David: As an old man who let his instruments sit idle because he had an ear but no drive to learn the basics, this short lesson reminded me of something I didn't want to do when I was 15: *actually learn and practice scales*. At the time, it seemed more useful (or perhaps just enjoyable...) to learn songs and licks. This small demonstration reminded me that 15 year me was a dafty, and those licks are worthless if you can't fit them into the key you're playing in. If you find yourself in Edinburgh, I owe you a coffee/beer at the least.
0:25 I - V - vi - IV ("Axis") 3:47 vi - IV - I - V 6:29 i - ♭VII - ♭VI - V (Andalusian cadence) 8:32 i - ♭VII - ♭VI - ♭VII ("Aeolian vamp") 11:05 I - vi - IV - V ("Doo-wop / 50s") 13:31 I - vi - ii - V ("Blue moon") 14:21 I - IV - V 14:15 I - V - IV - V 16:41 I - ♭VII - IV - I ("Mixolydian vamp")
I was actually doing some work, and accidently fell into this rabbit hole. Some times rabbit holes just steals your time away, but this was actually quite soothing and enlightning. Thanks David - best rabbit hole all day 🙂
You could add "D'you know what i mean?" to that list, Oasis ended up using the same main chord progression for that song that they'd used in Wonderwall.
Was wondering if that one's been bugging anyone but me. Btw there is a super famous mashup called Boulevard of Broken Dreams (Wonderwall vs Boulevard) by someone way more well known than me... I decided last year to extend it to a bunch more songs. th-cam.com/video/Yds95Pbsx5k/w-d-xo.html (though I like my more recent circle of 5ths progression compilation mashup even more. :))
Showing examples of songs using those chord progressions was genius. It gives you a good idea of how that chord progression sounds and what emotions it evokes.
it feels like the hero’s journey. The comfortable beginning, the inciting incident that turns the hero’s world upside down, the comeback of the hero, and finally, the triumph over the villain
Your explanations really inspire me to try things in my own musical explorations. I think your “secret sauce” is that you focus on the way chords and progressions translate into *feelings*. Music is all about making people feel things, and yet many people who try to explain theory focus very little on the emotion. Thank you!
Some more I - V - vi - IV that I've found: 5SOS "She Looks So Perfect" in E Adele "Easy On Me" in F Aerosmith "Cryin" in A Alanis Morissette "Head Over Feet" in C Alicia Keys "No One" in E Blink 182 "Feeling This" in E Christina Aguilera "Just A Fool" in G John Legend "So High" in D Jonas Brothers "When You Look Me In The Eyes" in D Jordin Sparks "Tattoo" in D Kanye West "Runaway" in E Kelly Clarkson "Already Gone" in A NSYNC "Merry Xmas, Happy Holidays" in F One Direction "Perfect" in D P!nk "Please Don't Leave Me" in Db Taylor Swift "Love Story" in D Taylor Swift "Wildest Dreams" in Ab The Script "Man Who Can't Be Moved" in Bb Few more vi - IV - I - V Adele "Hello" in Ab Avril Lavigne "My Happy Ending" verse in D Beyonce "If I Were A Boy" in Gb Coldplay "The Scientist" in F Enrique Iglesias "Bailando" in G Kelly Clarkson "Stronger" in C Sia 'Bird Set Free" in Ab
I was surprised that you didn't include the Pachebel Canon progression. You can hear it or (something close to it) in Green Day's "Basket Case," Blues Traveler's "Hook," Fastball's "The Way," Oasis's "Don't Look Back in Anger," Spacehog's "2nd Avenue" and a bunch of others.
Actually I was surprised David stayed from the 1950's and forward. I kept expecting music from further back to pop up to show that Musical Generations ARE connected to each other. Personally I think he lost a great chance to show that.
I know I saw a video somewhere showing all those comparisons, and most of them are different in musically significant ways. Don't look back in anger, transposed into d for example is: D A Bm F#7 G A D Bm A vs canon: D A Bm F#m G D G A Sure, the first 3 chords are the same, but then Oasis goes to 7th chord instead of a minor, which has a very different sound, and then the rest of the progression is not all that similar. You could argue that the A and Bm are just passing chords, which is fair enough, it's a small difference, but then we also don't hit the G chord, which gives a very different feeling to looping back to the start. When you add up all those small differences, you essentially just have a song that happens to also start with I-V-vi , which I think is not that unusual.
Long time ago, right after i finished high school, I went off to college on my own. I got a new laptop that had this chord progression playing in the background as I did the initialization process. It had this kind of airy, hopeful, yet melancholic feel to it. I've always thought fondly of that simple tune that is inextricably linked to a landmark moment in my life. The final progression in this video instantly made me think of it, because it was that progression exactly. I've always wondered about it. Thank you for solving a mystery for me.
I'm speechless! I've been looking for this video for ages, just no way to know how to "find it" online. I love how you gave us the most common, described how they worked together w tension and resolve and boring vs less boring and played them as examples songs that we've all heard and loved before. Thank you for taking a very "overly academic" subject like music theory, and breaking it down to 5yr old level understanding and no analysis paralysis. Perfect balance keep it up! Edit: In another video, could you break down the "strumming"/"vamping" on how to take a given chord and strumm/vamp properly? So I could apply these chord changes, Love the roman numerals the explanation of the flat 7s and the tension/resolve I think you touch on all of the essentials wo overcomplicating it in a good balance!
The Mixolydian vamp is why I always say that harmonically, mixolydian is wayyyy brighter and happier sounding than Ionian major. Every song that uses that progression makes me feel dreamy and happy.
Interesting. A Major7th chord always sounds nostalgic and sort of sad/dreamy to me. Never thought of ionian like that, though. But yeah, mixo can be very bright.
I have my own interpretation of musical theory. I don't think any other modes aside from the Ionian and Aeolian actually exist, as the music pulls you back to the Ionian/Aeolian tonic anyways if you accidentally mis-emphasize the chords. For example, notice how in that last song David played, it's much easier to think of the IV as the tonic, rather than the I. Interpreting it this way, the progression just becomes V-IV-I-V, or I-V-IV if you rearrange it, which is related to the I-V-vi-IV progression, but since it's all major chords, it's actually very happy, and THIS I believe is the root of that happy sound you were referring to. The reason why I think those other modes do not exist is because of the vii° chord, which can pull you back to the I chord if you add the 5th scale degree (thus transforming it into V7, i.e. BDF -> GBDF), or to the vi if you add the 6th degree (BDF -> BDFA). But this vii° can NEVER pull you back to any other scale degree, because it just won't sound resolved. This is the reason why in mode theory, people often talk about "avoid chords", which are chords that one must avoid if one wants to stay in a given mode, because again, modes present false/unstable tonics.
David makes even the most complex themes and theories crystal clear - this is an easier example, but the crystal clarity is still there. Perfectly explained and illustrated.
The Bible is truth. Please read at least three books of the Bible, Genesis, Mathew, and one of personal choice. As you do practice forgiveness. This is an important key step. To be forgiven we must forgive. You must do the inner work Jesus Christ taught. Start by forgiving your parents. They’ve loved you. They should be easiest. Look inside for those grievances we all build up and genuinely within your heart, forgive. Mean it. That’s they key. This step is crucial. Breaking down before Jesus Christ and asking for forgiveness really only works once you’ve put his teachings into practice in your life. Please trust me. Jesus Christ is the way truth and life
@@jamesmayle3787 What on earth has that got to do with either this upload or my comment? . . . Nothing. Absolutely nothing. This is a perfect example of zealotism flying in the face of all rationality or reasonableness. Pointless and irrelevant for anything at all to do with David's upload.
Oh, that was just absolutely brilliant. I can't believe all that had just passed me by all the years I've been playing. These videos are fantastic, David - thanks very much indeed.
A former brass player years ago, now old and trying to learn piano and your videos have explained so much about the foundations of music that I simply never learned with many years of playing brass. It almost makes me mad because these missing understandings limited my playing potential a lot back then. Great content.
Man, I went through like three of these videos looking for my beloved 1-b7-4 progression. My absolute favorite thing in the world is banging out some 1-b7-4 with my buddies. Like half the songs my band play use that progression and every time I hear a song with it it makes me happy.
Dude that's so interesting! Fascinating how all the songs with the same chord progressions are so different on the surface but actually sound pretty similar when you pay attention
Great video! For guitar players: one thing that really helped me was visualize chords numbers via simple notes on the 6th and 5th string. When you're on the top string, one string down on the same fret is the 4th chord and when you're on the 5th string one string up is the 5th chord. In other words, say you're doing an A5 power chord, on the same fret just below is the D5 chord so the 4th chord. From there it's easy to count up or down one chord (the 5th is two frets later to get your E5 chord). And let's say you're doing a C5 chord, if you go above on the same fret it becomes the 5th chord with your G5.
Nice job! helps explain why a lot of pop music sounds so similar when the progression is simply looped over and over with out breaking out of it with more bridges and choruses. Also, just interesting in general, and the best thing you did were the examples of well known songs while highlighting the progression. Thanks!
May I propose an update for the chapters: 0:00 Introduction 0:22 I V | vi IV the Axis Progression 3:46 vi IV | I V the OTHER Axis Progression 6:29 i bVII bVI V (on aeolian!) the Andalusian cadence 8:32 i bVII bVI bVII(on aeolian!) the Aeolian vamp 11:05 I vi IV V the Doo-wop changes 14:22 I V IV V the Major Scale vamp 16:38 I bVII IV I (on mixolydian!) the Mixolydian vamp Whoops or maybe not. I just see now what I may call didactically errors. Why the heck ya changing the reference point for you scale degree? ... and doing so without explicitly mention ! Okay I better create another comment for that.
Honorable mention to the Ōdō or "Royal Road" progression, IV△7-V7-iii7-vi, which is ubiquitous in Japanese popular music. It's associated with the 1950s enka style, but is used in practically everything from '60s-'70s bubblegum to modern synth-heavy hip-hop-influenced pop, like if the doo wop progression had never fallen out of fashion. It perfectly balances major and minor chord qualities, and is sometimes described as sounding "floaty", possibly because it avoids the tonic. The name "royal road" implies that it's the path to guaranteed success (a more idiomatic translation might be "easy street"). It's less common in Western pop but there is an example that shows how reliable it is: it's never gonna give you up, never gonna let you down, never gonna run around and desert you.
A recent use of this progression is Leave the Door Open by Silk Sonic. Also in western music it was quite common in 70s soul music. But it is indeed in Japanese music that it is the most frequent.
What does the triangle represent ? Anyway I feel this progression is weak. Going 4 to 5 is strong. But 5 to 3 minor is definitely weak. And 3 minor to 6 minor is weak also. No strength of direction. If the 3 chord was major it would be strong.
@@NagoyaHouseHead The triangle is the symbol for major. The IV chord is a major 7th. Honestly I think the lack of strong resolution may be part of the point. It just kinda hangs out, avoiding the tonic for 8 or so bars (sometimes nearly the entire tune), until the songwriter brings it home with a ii-V-I or IV-V-I.
There’s also one established progression and it’s gotten a bit of a resurgence in recent releases which is the ii-IV-I-V (and it’s rotational variant I-V-ii-IV). Excellent video, by the way!
@@DavidBennettPiano It's also from the verses of "Mad world", and the rotational variant is from the chorus of "Love really hurts without you" by Billy Ocean. Also, thank you for another amazing video!
This is a fantastically useful video. Your explanations of music theory are the clearest I have ever come across. The relevant examples you give, and your demonstrations are just spot on. As a life long guitarist, I have often struggled to work out the cord progressions of songs I am trying to learn by ear, but having started taking the piano more seriously, I am able to see more clearly how the chords relate to one another, and this video is a great tool to help me understand how the progressions work. I have placed this in my TH-cam Keep list, and I'll be referring to it again and again, and taking copious notes ... oh, that pun snuck up on me, but I like it!
The Bible is truth. Please read at least three books of the Bible, Genesis, Mathew, and one of personal choice. As you do practice forgiveness. This is an important key step. To be forgiven we must forgive. You must do the inner work Jesus Christ taught. Start by forgiving your parents. They’ve loved you. They should be easiest. Look inside for those grievances we all build up and genuinely within your heart, forgive. Mean it. That’s they key. This step is crucial. Breaking down before Jesus Christ and asking for forgiveness really only works once you’ve put his teachings into practice in your life. Please trust me. Jesus Christ is the way truth and life
What makes this video so great is it shows that endless diversity possible among songs sharing the same chord progression (and why “copyrighting” chord progressions is not possible). The melody and the groove are what gives a tune a distinctive feel, not the chord progression.
Dude, the flat 7 chord in the context of the last chord progression, just made things click in my brain. New song writing abilities unlocked. THANK YOU BRO!
One of the best things I did as a musician was to dive into the chords and modes of other parent scales (Double Harmonic Major, Harmonic Minor, etc.). These give so many interesting and different creative options.
I took piano for many years, never really had formal music theory, but some things stick in your head. I love watching your videos because you elucidate what my mind subconsciously understands and recognizes. AND I start listening to favorites songs and music in sort of a new way.
Amazing... Even the old workhorse of the bunch - the 1/6/4/5, the progression that launched a decade of great music, isn't spent. Dolly Parton can still go straight to the heart with "I will always love you." Creativity is infinite. Great video, as usual, David.
This was really one of your best videos, in my opinion. Playing multiple songs back to back was an extremely effective method of illustrating the chord progressions. I really hope you take up the suggestions here to do other videos illustrating other chord progressions in this manner!
Coming from a guitar/bass background only playing by ear for the last 35 years and now wanting to understand composition a lot more this has been the most useful thing I've seen online in the past 5 years. Thanks for sharing.
This progression can even be rotated to form 6/4/5/1, sort of a minor version of it. Three examples are: the chorus from "Nobody's Fool" by Cinderella, "Defenders of Legacy" from the Bloody Roar OST, and the chorus from "An Angel Came Down" by Trans-Siberian Orchestra.
One feature of the Dr. Demento radio show was to string together a medley of song snippets that all used the same chord progression like these songs do.... It's great to hear how versatile a few chords can be.
One the best videos for illustrating music theory I’ve seen. David, you are a genius. You make understanding music so accessible. And your presentations are so charming and matter of fact. Love your videos. Thank you. Oh, and you are a great musician too.
I always instantly click these videos, doesnt matter if ive learned the topic its about to any extent before, theres always something to gain from them, if nothing else a thorough refresher.
This is a great video. I think it will be extremely useful to music theory beginners who just need some examples to make the concepts really click. One chord progression I am very surprised you didn't include is the classic country chord progression (I IV I V). It's wonderful writing ground, and I think that most people could identify it pretty quickly, even if they aren't familiar with music theory or composition.
Ssshhh. If you told everyone they could write a song with simple chords, they just might. Downsides: We have heard them all before. Upsides: People might manage to utilize them to say something new and interesting. Yeah, it's a mixed bag.
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1964 was a great year for the Beatles! th-cam.com/video/36yUuAPWXFA/w-d-xo.html
These progressions are a great template for writing new songs. I used to just get lost on the keyboard, hoping to find chords that sounded "right". Learning some theory really gives me new motivation to sit at my keyboard and put some melodies down using these progressions.
I've never really been interested in music theory, I'm more of a hands on type learner when it comes to that, but the way you explain things is so intriguing and now I wanna know more!
The I-IV-V progression (what I refer to as the "Louie Louie" progression) is the basis of the majority of the three-chord bangers of earlier rock and roll. I love the way you put all this into perspective without the professorial pomp I associated with confusing university teachers who really didn't want to be teaching you.
@@igotobakeries That may be so, but we listened on Lo-Fi record players back in the '60's, and a single flatted note might easily have been lost in the scratchy hiss. No wonder urban legends arose over the "dirty lyrics"!😁
@@stevenskorich7878 Our band played it but I didn’t know the lyrics so I just mumbled incoherently with the amps turned up and we got away with it - until that night on a radio feed when the engineer dialed in the vocals - but that’s another story for an old rocker lol!
@@morrisgentry8624 That's one way to reduce the signal-to-noise ratio. Mumbling is a time-tested strategy - "When in charge, ponder. When in trouble, delegate. When in doubt, mumble." I'm not sure anyone knew the lyrics, and thousands of bands knew the song.
Thank you for mentioning the DooWop changes. That's one I've noticed being used almost as much as the Axis Progression (particularly in music from the 50s and 60s). Another common chord progression I've noticed, not so much used anymore but it was the basis for a lot of 50s rock music, is the 12 bar blues progression.
My english is very bad so i'm sorry but i would like to say thank you. I'm a classical pianist and I just start to try modern composition (rock, blues,...). During years and years I've eat musical theory without understand the aim. You're bringing order in my musical and theorical mess. Thanks and please, continue :)
I watched this video, studied music theory for a couple months, then came back, and whoa it all makes sense now. I didn't pay attention as a saxophonist to a lot of the chord stuff, but I'm glad I picked it up now. Thanks for the video.
That piano piece you played at the end over the Patreon names really gave me a Sims 1 OST vibe - a warm sound with just a single piano playing. Not sure if it was intentional or not, but it sounded great! Love your videos and look forward to the next one!
I always come away from these smarter than when I started. You're an excellent teacher and have definitely made me a better songwriter. Thanks a million.
I've just started to learn music theory and finally am grasping the technical concept of progressions . The way you humanize it and brings the "feels" functionality of harmony analysis - which is the fore of music theory anyway, we learn theory ro make music that better Express our emotions after all! - is an absolutely delightful compliment to my current learning. Thank you!
Found this trying to track down why “Dear Maria” fits so well with anime openings, I think I’ve decided the reason is that vi IV I V has a similar vibe to the Royal Road progression, where, while we do get resolution with the V, there is this ability to kind of revolve through the chords over and over.
Awesome video. I love that you embraced the semi modular with the DAW marring them together. This is what I always thought should happen. Not like a lot of these people wanting to throw out the DAW for live looping. Thanks and keep up the great work. Really innovative. Stay creative!!
i'm only at progression no. 2 but gotta say that it's such a great and informative video. i would really like to encourage you to talk even more about progressions that _don't_ start on the I chord. this opens up an entirely new world of creating music imho (that i feel i haven't entered yet). edit: also please talk about progressions of only 3 chords or more than 4. it annoys me that all of us focus so much on 4 chord progressions and always starting on the I. 😅
Amazing video. So we’ll presented. It’s actually presented in a way where I can learn. I love that you show the chords on screen, say why they work, and give multiple examples. So good. New subscriber here
There's a famous example of an andalusian cadence looping for almost four minutes non-stop, going all the way back to the early 16th century. It's Monteverdi's "Lamento della Ninfa". Give it a listen. It sounds surprisingly modern.
I loved this lesson. One additional thing you may like to know: the Andalusian cadence was formerly known as a "lament bass line" when talking about figured bass in the euro tradition.
Love this. Always enjoyed the 'study' of chord progressions and identifying them myself. I predicted a lot of your examples prior to them playing. :) I always think it's amazing too how these underpin SO MANY different songs, yet many can sound so different despite having the same backbone.
I give a lot of credit to producers for making a hit out of something that would otherwise be one of a hundred similar songs--something that people would otherwise be bored with the week it came out. They come up with inversions and extensions of chords, tweak effects, add overdubs, bring in just the right guy to mix it, etc. It's an art form all its own.
This covers it nicely. Maybe another example might be any chord progression that revolves around Am, Dm, and E7. I feel like a lot of R&B over the last 20 years, especially in the 2000s, used those chords.
The French composer Marc-Antoine Charpentier, 17th century, composed a Magnificat on this progression. The ouverture of his Te deum is very well known as the Eurovision theme.
One progression I hear very often (and also one that I love) is I - V - II - VI - just 4 major chords going up in 5ths (or down in 4ths). It’s also common to start on the 3rd one and get I - V - bVII - VI, which is very similar to the Mixolydian vamp, but has an added V.
This is a really well done breakdown of these progressions and I love all the examples you gave for each. I'm definitely sharing this with my music students. Thank you for creating this video!
I think my best example of I / VIIb / IV / I is 'Werefolf from London". That one is crystal clear about it's musical intentions. Absolutely lovely. Thanks for all the hard work mate!
My friend just gave me a guitar, saying, "I bet you'd like playing--you should learn." I don't know any music theory. I've never played an instrument in my life. My last music class was 30 years ago. But, I'm immersing myself in TH-cam and trying to teach myself. I came across your videos and just can't get enough. Even though I still need to research what you're talking about some of the time (why do chords have numbers???), you make the concepts you discuss interesting and accessible for complete novices like me. I appreciate your efforts! Keep up the great work! Liked and subscribed!
Brilliant, nothing more to say, I really understand all that theoratical stuff. But now I can feel it much more, thank you very much and also for your other videos. Greetings from Augsburg
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What are your favourite common chord progressions?
Pancakes or waffles?
@@nethercreature1624 pancakes
@@DavidBennettPiano ooh ok personally i prefer waffles but i respect your opinion 🧇🧇🧇
@@DavidBennettPiano I've always found it easy to figure out what chords singularly are being played, but recognizing the entire chord progression itself as it's own "color" is far more efficient. Giving names to all of these familiar sounds is helping my ear training a lot.
Thank you David !! 😊
@@nethercreature1624 : It's just mean to ask that question in the first place. 💔😭
lols
many people often try to frame common chord progressions like they're automatically bad because they're common, and i think it's great that this video doesn't do that. these progressions are common for a reason
Totes.
Facts
Yea they’re certainly not automatically bad, but a lot of these great songs use those progressions, but use others in the song as well. Whereas a lot of cheap pop songs that come out consist of only a standard 1/4/6/5 or whatever the entire song, no creativity
@@oblivionpro69 a lot of those cheap pop songs put a lot more emphasis on the actual production rather than the harmonic structure of the song.
They're definitely not bad but they're not as interesting as other progressions. You can get tired of them faster.
“The combination of these 3 chords (I, IV, V) gives us 3 shades of tension, allowing for that sense of movement.”
Best description of the purpose of chord progression! I am a elementary music teacher and always wonder how to explain that to my students. Thank you!
This was the best video I've seen regarding chord progression right!
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I don't think Take On Me is 156m7.
And if you want to go super easy, just switch between I and V, they just want to jump to each other.
I studied music theory, music production, and I've been a musician for a long, long time. I stumbled on this video and I just want to point out this is one of the most brilliant ways to explain chord progressions. Entertaining, with perfect examples and explanations. Congratulations!
completely agree. Incredible how many different songs nd melodies are made out of the exact same chords.
I also agree. Well done. I am musically illiterate, even though I play. Beautifully done. I just wish I could understand what it all means.
Agree
did you know, there is a gender that involves music theory. and nobody is inventing new genders, just finding new names for ideas that existed for thousands of years
@@mfrench711 What didn't you understand?
That Mixolydian vamp (I-bVII-IV-I) is such a timeless and effective chord progression. It was especially prominent in the circa 1967-1975 classic rock era. It's dramatic and lends itself to a bluesy inflection very well.
as told by ginger anyone? anybody see that one chris cornell video? no? ok
In the Air Tonight is a great example of the Aeolian Vamp. It just lingers around until the drum fill halfway through that still blows me away after hearing the song a million times.
It also has an under appreciated bass line.
This is such a great video. You don’t just list of the most used chords. You also give examples and tell us what we feel in this chord and why.
😊
Thanks!
I'll second that! Why did "San Francisco" surprise me ? Brilliant video David, bravo !!!
I agree! Really practical and useful approach to dissecting the emotion behind particular progressions, using familiar examples. Perfect, really!
Love all the examples but this must have been sent into copyright hell!
It’s incredible that you can use Beatles music in almost every music theory video!
It’s not difficult to do 😊
@@DavidBennettPiano Right?
Same with taylor swift!
Melissa Etheridge said "The Beatles wrote _all_ the songs. We are just rewriting them."
@@michaeleaster1815 the Beatles and taylor swift are my 2 favorite bands/artists!
'Let It Be' is probably the perfect example to use at 2:48, as its words mirror its chord progression perfectly as based on your explanation:
I - 'When I find myself' - Something incomplete. It could be the whole story, but that would be incredibly boring.
V - 'in times of trouble' - The introduction of tension.
vi - 'Mother Mary' - A partial resolution, but still something incomplete.
IV - 'comes to me' - A total and complete resolution of the idea that leads perfectly into the next phrase.
Wow I never realised that!
Would be great if that was true, but the I chord is the most complete in a major progression, and the IV is not complete, it's unresolved. But it sounded good.
I was thinking of that song when he played the chords the first time. It was very obvious. Love the Beatles
@@bencleners6655 Probably cause it was only used for one line and every other song in this list flogged it for 3 and a half minutes!!
theres ii used slightly after IV. but they are almost identical chords
Thank you so much for this. I wrote music for decades and then had a nervous breakdown and just stopped. I couldn’t find creativity anymore. This formula helps me understand through multiple genres and multiple examples that these work on all levels. I think I can get to writing again now ❤
This kind of stuff is what TH-cam was made for.
Terrific.
I love seeing the chords changing in real time with on screen graphics, makes it stick better.
Great job dude
Love the mixolydian one. It's basically a cheat code to writing music that sounds 'anthemic'. It just makes people want to shout along with it. Primal Scream and that newer Lorde song a great examples, too.
I see mixolydian as the "rock and roll" one (read that somewhere), so it makes sense.
@@MisterL777 ACDC!
If you like Mixolydian, then I'm sure you love Mixolydian/b6. It's like an automatic connection between bright-ish Rock and minor-sounding phrases.
That flat major 7 is all over classic rock.
@@MisterL777 -- really it's the blues one first, with I7, IV7, V7, rock drew from that.
Some more interesting 4 chord progressions:
JPop / Anime progression: IV-V-(major)III-VI
Another pop progression: I-(major or minor)III-VI-IV
More melancholic: I-VI-II-IV
Get Lucky: II-IV-VI-V
Melancholic variant: I-V-II(with 7)-IV
Modern Pop: VI-I-V-IV
Some other pop variant: VI-IV-(major)II-(major)III
A while ago I listened to some anime songs thinking "what's the "anime" ingredient in there?" as chord progression couldn't be the only thing.
If some of you have more insight on this one I'll be glad to listen.
@@MisterL777 Adam Neely has a good video on it that might help answer that question th-cam.com/video/gFXcwv9XISc/w-d-xo.html . it might also be the type of instruments used, or that it uses more extensions to be jazzier
@Zeffo Thank you
imma pitch in vi-iii-IV-I
Thank you for this David: As an old man who let his instruments sit idle because he had an ear but no drive to learn the basics, this short lesson reminded me of something I didn't want to do when I was 15: *actually learn and practice scales*.
At the time, it seemed more useful (or perhaps just enjoyable...) to learn songs and licks. This small demonstration reminded me that 15 year me was a dafty, and those licks are worthless if you can't fit them into the key you're playing in.
If you find yourself in Edinburgh, I owe you a coffee/beer at the least.
David's videos are a masterclass in music theory. He ties so many loose ends together that things start to make sense.
0:25 I - V - vi - IV ("Axis")
3:47 vi - IV - I - V
6:29 i - ♭VII - ♭VI - V (Andalusian cadence)
8:32 i - ♭VII - ♭VI - ♭VII ("Aeolian vamp")
11:05 I - vi - IV - V ("Doo-wop / 50s")
13:31 I - vi - ii - V ("Blue moon")
14:21 I - IV - V
14:15 I - V - IV - V
16:41 I - ♭VII - IV - I ("Mixolydian vamp")
I clicked translate to english and it still has roman numerals? TH-cam translate is broken.
@@johnelder3978 That's because the Roman numerals in the comment are English characters.
@@Mabbdaa Why doesn't he write them in the original latin then? Lazy.
@@bobdobbs7828 You should know what Roman numerals are. Especially if you're a musician. If not, learn them now, it's extremely easy to understand.
@@Mabbdaa Why should I? I don't speak no foreign language and I use google translate with anything that is written in one.
I was actually doing some work, and accidently fell into this rabbit hole. Some times rabbit holes just steals your time away, but this was actually quite soothing and enlightning. Thanks David - best rabbit hole all day 🙂
same here! it showed up in my recommendations and I had to click it. awesome.
I'm thinking of another one: i-bIII-bVll-IV.
"Wonderwall", "Mad World", "Boulevard of Broken Dreams", "New Divide", "Pumped Up Kicks", etc.
You could add "D'you know what i mean?" to that list, Oasis ended up using the same main chord progression for that song that they'd used in Wonderwall.
I was also thinking of that! It's also used in "Not Too Late for The Wine" and "Vilse i skogen".
Was wondering if that one's been bugging anyone but me. Btw there is a super famous mashup called Boulevard of Broken Dreams (Wonderwall vs Boulevard) by someone way more well known than me... I decided last year to extend it to a bunch more songs. th-cam.com/video/Yds95Pbsx5k/w-d-xo.html (though I like my more recent circle of 5ths progression compilation mashup even more. :))
Showing examples of songs using those chord progressions was genius. It gives you a good idea of how that chord progression sounds and what emotions it evokes.
Yes. Excellent video. I agree.
I love the Doo Wop or stand by me progression. It’s so soulful
it feels like the hero’s journey. The comfortable beginning, the inciting incident that turns the hero’s world upside down, the comeback of the hero, and finally, the triumph over the villain
@@rashotcake6945 the vi chord is way too comfy to be the incident. I would say Hero at home, hero begins his journey, inciting incident, triumph
I love it as well. After listening to a lot of doo wop you get that progression subconsciously ingrained in your mind
Your explanations really inspire me to try things in my own musical explorations. I think your “secret sauce” is that you focus on the way chords and progressions translate into *feelings*. Music is all about making people feel things, and yet many people who try to explain theory focus very little on the emotion. Thank you!
Some more I - V - vi - IV that I've found:
5SOS "She Looks So Perfect" in E
Adele "Easy On Me" in F
Aerosmith "Cryin" in A
Alanis Morissette "Head Over Feet" in C
Alicia Keys "No One" in E
Blink 182 "Feeling This" in E
Christina Aguilera "Just A Fool" in G
John Legend "So High" in D
Jonas Brothers "When You Look Me In The Eyes" in D
Jordin Sparks "Tattoo" in D
Kanye West "Runaway" in E
Kelly Clarkson "Already Gone" in A
NSYNC "Merry Xmas, Happy Holidays" in F
One Direction "Perfect" in D
P!nk "Please Don't Leave Me" in Db
Taylor Swift "Love Story" in D
Taylor Swift "Wildest Dreams" in Ab
The Script "Man Who Can't Be Moved" in Bb
Few more vi - IV - I - V
Adele "Hello" in Ab
Avril Lavigne "My Happy Ending" verse in D
Beyonce "If I Were A Boy" in Gb
Coldplay "The Scientist" in F
Enrique Iglesias "Bailando" in G
Kelly Clarkson "Stronger" in C
Sia 'Bird Set Free" in Ab
I was surprised that you didn't include the Pachebel Canon progression. You can hear it or (something close to it) in Green Day's "Basket Case," Blues Traveler's "Hook," Fastball's "The Way," Oasis's "Don't Look Back in Anger," Spacehog's "2nd Avenue" and a bunch of others.
Actually I was surprised David stayed from the 1950's and forward. I kept expecting music from further back to pop up to show that Musical Generations ARE connected to each other. Personally I think he lost a great chance to show that.
Could do a whole clip on that
@@peterkelley6344 He did the Andalusian Cadence, which goes back as far as Baroque music.
And most recently in Maroon 5's Memories. (Transposed to B.)
I know I saw a video somewhere showing all those comparisons, and most of them are different in musically significant ways. Don't look back in anger, transposed into d for example is:
D A Bm F#7 G A D Bm A
vs canon:
D A Bm F#m G D G A
Sure, the first 3 chords are the same, but then Oasis goes to 7th chord instead of a minor, which has a very different sound, and then the rest of the progression is not all that similar.
You could argue that the A and Bm are just passing chords, which is fair enough, it's a small difference, but then we also don't hit the G chord, which gives a very different feeling to looping back to the start.
When you add up all those small differences, you essentially just have a song that happens to also start with I-V-vi , which I think is not that unusual.
Long time ago, right after i finished high school, I went off to college on my own. I got a new laptop that had this chord progression playing in the background as I did the initialization process. It had this kind of airy, hopeful, yet melancholic feel to it. I've always thought fondly of that simple tune that is inextricably linked to a landmark moment in my life. The final progression in this video instantly made me think of it, because it was that progression exactly. I've always wondered about it. Thank you for solving a mystery for me.
I'm speechless! I've been looking for this video for ages, just no way to know how to "find it" online. I love how you gave us the most common, described how they worked together w tension and resolve and boring vs less boring and played them as examples songs that we've all heard and loved before. Thank you for taking a very "overly academic" subject like music theory, and breaking it down to 5yr old level understanding and no analysis paralysis. Perfect balance keep it up! Edit: In another video, could you break down the "strumming"/"vamping" on how to take a given chord and strumm/vamp properly? So I could apply these chord changes, Love the roman numerals the explanation of the flat 7s and the tension/resolve I think you touch on all of the essentials wo overcomplicating it in a good balance!
The Mixolydian vamp is why I always say that harmonically, mixolydian is wayyyy brighter and happier sounding than Ionian major. Every song that uses that progression makes me feel dreamy and happy.
Interesting. A Major7th chord always sounds nostalgic and sort of sad/dreamy to me. Never thought of ionian like that, though. But yeah, mixo can be very bright.
Isn’t Fire and Rain Mixolydian? At least I could hear it during the piano outro David did.
@@user-oy7gz5bf2h Exactly it`s a blues scale a flat 7th of the major scale !
I have my own interpretation of musical theory. I don't think any other modes aside from the Ionian and Aeolian actually exist, as the music pulls you back to the Ionian/Aeolian tonic anyways if you accidentally mis-emphasize the chords. For example, notice how in that last song David played, it's much easier to think of the IV as the tonic, rather than the I. Interpreting it this way, the progression just becomes V-IV-I-V, or I-V-IV if you rearrange it, which is related to the I-V-vi-IV progression, but since it's all major chords, it's actually very happy, and THIS I believe is the root of that happy sound you were referring to. The reason why I think those other modes do not exist is because of the vii° chord, which can pull you back to the I chord if you add the 5th scale degree (thus transforming it into V7, i.e. BDF -> GBDF), or to the vi if you add the 6th degree (BDF -> BDFA). But this vii° can NEVER pull you back to any other scale degree, because it just won't sound resolved. This is the reason why in mode theory, people often talk about "avoid chords", which are chords that one must avoid if one wants to stay in a given mode, because again, modes present false/unstable tonics.
Yeah, the major 7th has a sadness to it. Minor 7th comes to party
David makes even the most complex themes and theories crystal clear - this is an easier example, but the crystal clarity is still there. Perfectly explained and illustrated.
The Bible is truth.
Please read at least three books of the Bible, Genesis, Mathew, and one of personal choice. As you do practice forgiveness. This is an important key step. To be forgiven we must forgive. You must do the inner work Jesus Christ taught. Start by forgiving your parents. They’ve loved you. They should be easiest. Look inside for those grievances we all build up and genuinely within your heart, forgive. Mean it. That’s they key. This step is crucial. Breaking down before Jesus Christ and asking for forgiveness really only works once you’ve put his teachings into practice in your life. Please trust me.
Jesus Christ is the way truth and life
@@jamesmayle3787 What on earth has that got to do with either this upload or my comment? . . . Nothing. Absolutely nothing.
This is a perfect example of zealotism flying in the face of all rationality or reasonableness.
Pointless and irrelevant for anything at all to do with David's upload.
Oh, that was just absolutely brilliant. I can't believe all that had just passed me by all the years I've been playing. These videos are fantastic, David - thanks very much indeed.
A former brass player years ago, now old and trying to learn piano and your videos have explained so much about the foundations of music that I simply never learned with many years of playing brass. It almost makes me mad because these missing understandings limited my playing potential a lot back then. Great content.
Man, I went through like three of these videos looking for my beloved 1-b7-4 progression. My absolute favorite thing in the world is banging out some 1-b7-4 with my buddies. Like half the songs my band play use that progression and every time I hear a song with it it makes me happy.
Probably one of the best chord analysis videos I've seen on YT. Thanks for this bro!
Thanks! 😀
Dude that's so interesting! Fascinating how all the songs with the same chord progressions are so different on the surface but actually sound pretty similar when you pay attention
Great video! For guitar players: one thing that really helped me was visualize chords numbers via simple notes on the 6th and 5th string. When you're on the top string, one string down on the same fret is the 4th chord and when you're on the 5th string one string up is the 5th chord.
In other words, say you're doing an A5 power chord, on the same fret just below is the D5 chord so the 4th chord. From there it's easy to count up or down one chord (the 5th is two frets later to get your E5 chord).
And let's say you're doing a C5 chord, if you go above on the same fret it becomes the 5th chord with your G5.
Nice job! helps explain why a lot of pop music sounds so similar when the progression is simply looped over and over with out breaking out of it with more bridges and choruses. Also, just interesting in general, and the best thing you did were the examples of well known songs while highlighting the progression. Thanks!
May I propose an update for the chapters:
0:00 Introduction
0:22 I V | vi IV the Axis Progression
3:46 vi IV | I V the OTHER Axis Progression
6:29 i bVII bVI V (on aeolian!) the Andalusian cadence
8:32 i bVII bVI bVII(on aeolian!) the Aeolian vamp
11:05 I vi IV V the Doo-wop changes
14:22 I V IV V the Major Scale vamp
16:38 I bVII IV I (on mixolydian!) the Mixolydian vamp
Whoops or maybe not. I just see now what I may call didactically errors.
Why the heck ya changing the reference point for you scale degree?
... and doing so without explicitly mention !
Okay I better create another comment for that.
Thank you so much man , i was thinking of reading writing this down from the video but you made it easier for me 👍👍
Honorable mention to the Ōdō or "Royal Road" progression, IV△7-V7-iii7-vi, which is ubiquitous in Japanese popular music. It's associated with the 1950s enka style, but is used in practically everything from '60s-'70s bubblegum to modern synth-heavy hip-hop-influenced pop, like if the doo wop progression had never fallen out of fashion. It perfectly balances major and minor chord qualities, and is sometimes described as sounding "floaty", possibly because it avoids the tonic. The name "royal road" implies that it's the path to guaranteed success (a more idiomatic translation might be "easy street"). It's less common in Western pop but there is an example that shows how reliable it is: it's never gonna give you up, never gonna let you down, never gonna run around and desert you.
A recent use of this progression is Leave the Door Open by Silk Sonic. Also in western music it was quite common in 70s soul music. But it is indeed in Japanese music that it is the most frequent.
What does the triangle represent ? Anyway I feel this progression is weak. Going 4 to 5 is strong. But 5 to 3 minor is definitely weak. And 3 minor to 6 minor is weak also. No strength of direction. If the 3 chord was major it would be strong.
@@NagoyaHouseHead The triangle is the symbol for major. The IV chord is a major 7th.
Honestly I think the lack of strong resolution may be part of the point. It just kinda hangs out, avoiding the tonic for 8 or so bars (sometimes nearly the entire tune), until the songwriter brings it home with a ii-V-I or IV-V-I.
😂 I can’t believe I just got rickrolled in the comments. Nice. And I’m still singing it in my head.
What's the name of this one
IVMaj7 - III7 - vi - v?? (EG. JUST THE TWO OF US) very similar...
There’s also one established progression and it’s gotten a bit of a resurgence in recent releases which is the ii-IV-I-V (and it’s rotational variant I-V-ii-IV).
Excellent video, by the way!
I love that progression… I think it’s the progression from the outro of “I Know The End” by Phoebe Bridgers.
@@DavidBennettPiano It's also from the verses of "Mad world", and the rotational variant is from the chorus of "Love really hurts without you" by Billy Ocean. Also, thank you for another amazing video!
@@DavidBennettPiano it’s the progression for the middle section! The outdo is i-bVI-IV in the parallel minor to the key used in most of the song
I-V-ii-IV will always be the Closing Time progression to me, no matter how many times Taylor Swift uses it
@@wyssmaster great song!!
This is a fantastically useful video. Your explanations of music theory are the clearest I have ever come across. The relevant examples you give, and your demonstrations are just spot on. As a life long guitarist, I have often struggled to work out the cord progressions of songs I am trying to learn by ear, but having started taking the piano more seriously, I am able to see more clearly how the chords relate to one another, and this video is a great tool to help me understand how the progressions work. I have placed this in my TH-cam Keep list, and I'll be referring to it again and again, and taking copious notes ... oh, that pun snuck up on me, but I like it!
The Bible is truth.
Please read at least three books of the Bible, Genesis, Mathew, and one of personal choice. As you do practice forgiveness. This is an important key step. To be forgiven we must forgive. You must do the inner work Jesus Christ taught. Start by forgiving your parents. They’ve loved you. They should be easiest. Look inside for those grievances we all build up and genuinely within your heart, forgive. Mean it. That’s they key. This step is crucial. Breaking down before Jesus Christ and asking for forgiveness really only works once you’ve put his teachings into practice in your life. Please trust me.
Jesus Christ is the way truth and life
What makes this video so great is it shows that endless diversity possible among songs sharing the same chord progression (and why “copyrighting” chord progressions is not possible). The melody and the groove are what gives a tune a distinctive feel, not the chord progression.
Dude, the flat 7 chord in the context of the last chord progression, just made things click in my brain. New song writing abilities unlocked. THANK YOU BRO!
Great to hear Muse's Citizen Erased mentioned, it's a banger of a song.
One of the best things I did as a musician was to dive into the chords and modes of other parent scales (Double Harmonic Major, Harmonic Minor, etc.). These give so many interesting and different creative options.
This is one of the greatest pieces of musical theory I’ve ever learned. This should be the very first thing they teach. Thank you for providing this.
I took piano for many years, never really had formal music theory, but some things stick in your head. I love watching your videos because you elucidate what my mind subconsciously understands and recognizes. AND I start listening to favorites songs and music in sort of a new way.
Amazing... Even the old workhorse of the bunch - the 1/6/4/5, the progression that launched a decade of great music, isn't spent. Dolly Parton can still go straight to the heart with "I will always love you." Creativity is infinite. Great video, as usual, David.
It's amazing how the same progression can sound so different in different hands!
The Monster Mash is my absolute favourite 1/6/4/5
As a music teacher, I find your material brilliant and useful. Please keep up the good work!
This was really one of your best videos, in my opinion. Playing multiple songs back to back was an extremely effective method of illustrating the chord progressions. I really hope you take up the suggestions here to do other videos illustrating other chord progressions in this manner!
Amazing lesson. I'm gonna watch over and over. I don't think I've ever done a piano lesson this informative, especially in 21 minutes.
Coming from a guitar/bass background only playing by ear for the last 35 years and now wanting to understand composition a lot more this has been the most useful thing I've seen online in the past 5 years. Thanks for sharing.
this guy showed me how much i actually know about music and i had no idea at all. up till now i only payed attention to tempo
The doo-wop chord progression (1/6/4/5) is also referred to as the "ice cream change". Seventy five years and still used in current pop music.
I love 1645!!
"In the Still of the Night" is the prototypical doo-wop song to use this progression.
This progression can even be rotated to form 6/4/5/1, sort of a minor version of it. Three examples are: the chorus from "Nobody's Fool" by Cinderella, "Defenders of Legacy" from the Bloody Roar OST, and the chorus from "An Angel Came Down" by Trans-Siberian Orchestra.
The most over-done progression of them all. Best example (maybe): Please Mr. Postman
@@kdeggraham895Too much black plague for me, but to each their own.
One feature of the Dr. Demento radio show was to string together a medley of song snippets that all used the same chord progression like these songs do.... It's great to hear how versatile a few chords can be.
One the best videos for illustrating music theory I’ve seen.
David, you are a genius. You make understanding music so accessible. And your presentations are so charming and matter of fact. Love your videos. Thank you. Oh, and you are a great musician too.
I remember my dad watching this and I was so hooked, one of my memories of him before he passed. Now I am an EDM music creator and striving to be a DJ
my god some of the transitions between songs gave me chills
I always instantly click these videos, doesnt matter if ive learned the topic its about to any extent before, theres always something to gain from them, if nothing else a thorough refresher.
This is a great video. I think it will be extremely useful to music theory beginners who just need some examples to make the concepts really click. One chord progression I am very surprised you didn't include is the classic country chord progression (I IV I V). It's wonderful writing ground, and I think that most people could identify it pretty quickly, even if they aren't familiar with music theory or composition.
Ssshhh. If you told everyone they could write a song with simple chords, they just might. Downsides: We have heard them all before. Upsides: People might manage to utilize them to say something new and interesting. Yeah, it's a mixed bag.
1964 was a great year for the Beatles! th-cam.com/video/36yUuAPWXFA/w-d-xo.html
I would call the Myxolidian vamp the Stadium Anthem Vamp, judging from the songs you used as an example. Great video, gives a lot of insight, thanks!
"The Bozo Vamp" :-)
Stadium Anthem Vamp... Love it.
It may be the best mode for audience participation/sing-alongs - making everyone feel happy
Great job. I especially like the song examples from different genres and eras which clearly illustrate the chord progressions.
These progressions are a great template for writing new songs. I used to just get lost on the keyboard, hoping to find chords that sounded "right". Learning some theory really gives me new motivation to sit at my keyboard and put some melodies down using these progressions.
I've never really been interested in music theory, I'm more of a hands on type learner when it comes to that, but the way you explain things is so intriguing and now I wanna know more!
The I-IV-V progression (what I refer to as the "Louie Louie" progression) is the basis of the majority of the three-chord bangers of earlier rock and roll. I love the way you put all this into perspective without the professorial pomp I associated with confusing university teachers who really didn't want to be teaching you.
The actual "Louie Louie" progression, at least the one made famous by The Kingsmen, is I-IV-v-IV (minor v!), which is relatively rare in rock & roll.
@@igotobakeries That may be so, but we listened on Lo-Fi record players back in the '60's, and a single flatted note might easily have been lost in the scratchy hiss. No wonder urban legends arose over the "dirty lyrics"!😁
@@igotobakeries Exactly. We played it in G. G /// C// Dm/// C//
@@stevenskorich7878 Our band played it but I didn’t know the lyrics so I just mumbled incoherently with the amps turned up and we got away with it - until that night on a radio feed when the engineer dialed in the vocals - but that’s another story for an old rocker lol!
@@morrisgentry8624 That's one way to reduce the signal-to-noise ratio. Mumbling is a time-tested strategy - "When in charge, ponder. When in trouble, delegate. When in doubt, mumble." I'm not sure anyone knew the lyrics, and thousands of bands knew the song.
Thank you for mentioning the DooWop changes. That's one I've noticed being used almost as much as the Axis Progression (particularly in music from the 50s and 60s). Another common chord progression I've noticed, not so much used anymore but it was the basis for a lot of 50s rock music, is the 12 bar blues progression.
Yes, I was surprised that he did not mention this progression.
My english is very bad so i'm sorry but i would like to say thank you. I'm a classical pianist and I just start to try modern composition (rock, blues,...). During years and years I've eat musical theory without understand the aim. You're bringing order in my musical and theorical mess. Thanks and please, continue :)
I watched this video, studied music theory for a couple months, then came back, and whoa it all makes sense now. I didn't pay attention as a saxophonist to a lot of the chord stuff, but I'm glad I picked it up now. Thanks for the video.
That piano piece you played at the end over the Patreon names really gave me a Sims 1 OST vibe - a warm sound with just a single piano playing.
Not sure if it was intentional or not, but it sounded great! Love your videos and look forward to the next one!
This kind of sound (to my untrained ears at least!) th-cam.com/video/Bs5QGN-zhwM/w-d-xo.html
i thought exactly the same thing!
th-cam.com/video/IJMds3jT7c8/w-d-xo.html
I was thinking "Night Moves".
Almost “The Way It Is - Bruce Hornsby”
LOVE the Mixolydian Vamp. I've always been calling it "the one flat seven four progression". Thanks for putting a name to that!
I've been calling it the Hey Jude progression....
I was calling it the "Back In Black." To me, "Mixolydian Vamp" would just be I-bVII.
I always come away from these smarter than when I started. You're an excellent teacher and have definitely made me a better songwriter. Thanks a million.
I've just started to learn music theory and finally am grasping the technical concept of progressions . The way you humanize it and brings the "feels" functionality of harmony analysis - which is the fore of music theory anyway, we learn theory ro make music that better Express our emotions after all! - is an absolutely delightful compliment to my current learning. Thank you!
Found this trying to track down why “Dear Maria” fits so well with anime openings,
I think I’ve decided the reason is that vi IV I V has a similar vibe to the Royal Road progression, where, while we do get resolution with the V, there is this ability to kind of revolve through the chords over and over.
I will watch this video , superbly well made, many times David. Chord progressions, indescribably beautiful. So enjoyable ! Alan
Cheers Alan!
Awesome video. I love that you embraced the semi modular with the DAW marring them together. This is what I always thought should happen. Not like a lot of these people wanting to throw out the DAW for live looping. Thanks and keep up the great work. Really innovative. Stay creative!!
i'm only at progression no. 2 but gotta say that it's such a great and informative video. i would really like to encourage you to talk even more about progressions that _don't_ start on the I chord. this opens up an entirely new world of creating music imho (that i feel i haven't entered yet). edit: also please talk about progressions of only 3 chords or more than 4. it annoys me that all of us focus so much on 4 chord progressions and always starting on the I. 😅
Im so glad i finally figured out the chord progression that appeals to me in all the songs i like. Andalusian cadence is just beautiful to me
Amazing video. So we’ll presented. It’s actually presented in a way where I can learn. I love that you show the chords on screen, say why they work, and give multiple examples. So good. New subscriber here
There's a famous example of an andalusian cadence looping for almost four minutes non-stop, going all the way back to the early 16th century. It's Monteverdi's "Lamento della Ninfa". Give it a listen. It sounds surprisingly modern.
Thank you for this video, this channel is so useful and amazing. Best wishes from Argentina!
Thanks!!
You always make your videos "for all" with the variety of examples you give. Great vid
One of the most useful and informative videos for musicians anywhere. Nicely done and well worth watching.
Thanks!
Reminds me alot of Duncan Loriens's Understanding of Music but in a tight well exampled format. Truly wonderful and much appreciated
Cool video!
The 'Axis Progression' is also known as the Optimistic Progression, and the 'other' is also known as the Pessimistic Progression.
Also the "Sensitive Female Progression"
@@SelfPropelledDestiny indeed
Great video as ever. You've inadvertently summarised why I like some songs and not others, based on their progressions!
So what are you favourite ones based on?
I loved this lesson. One additional thing you may like to know: the Andalusian cadence was formerly known as a "lament bass line" when talking about figured bass in the euro tradition.
The progression in the keyboard with the guy talking sound like the bridge of a song
Great video btw
Been playing and writing my own stuff since I was 8 and this was the first time I got interested in chord progressions, thanks!
Love this. Always enjoyed the 'study' of chord progressions and identifying them myself. I predicted a lot of your examples prior to them playing. :) I always think it's amazing too how these underpin SO MANY different songs, yet many can sound so different despite having the same backbone.
I give a lot of credit to producers for making a hit out of something that would otherwise be one of a hundred similar songs--something that people would otherwise be bored with the week it came out. They come up with inversions and extensions of chords, tweak effects, add overdubs, bring in just the right guy to mix it, etc. It's an art form all its own.
This covers it nicely. Maybe another example might be any chord progression that revolves around Am, Dm, and E7. I feel like a lot of R&B over the last 20 years, especially in the 2000s, used those chords.
The French composer Marc-Antoine Charpentier, 17th century, composed a Magnificat on this progression. The ouverture of his Te deum is very well known as the Eurovision theme.
5:13 loving this so much this switch changed my childhood
This is by far the best video on the subject I have found in youtube. Thanks so much. 🎯👏🤯
One progression I hear very often (and also one that I love) is I - V - II - VI - just 4 major chords going up in 5ths (or down in 4ths). It’s also common to start on the 3rd one and get I - V - bVII - VI, which is very similar to the Mixolydian vamp, but has an added V.
A really useful and well explained video David! A real insight in to popular music.
Thanks!
This is a really well done breakdown of these progressions and I love all the examples you gave for each. I'm definitely sharing this with my music students. Thank you for creating this video!
I think my best example of I / VIIb / IV / I is 'Werefolf from London". That one is crystal clear about it's musical intentions. Absolutely lovely. Thanks for all the hard work mate!
My friend just gave me a guitar, saying, "I bet you'd like playing--you should learn." I don't know any music theory. I've never played an instrument in my life. My last music class was 30 years ago. But, I'm immersing myself in TH-cam and trying to teach myself. I came across your videos and just can't get enough. Even though I still need to research what you're talking about some of the time (why do chords have numbers???), you make the concepts you discuss interesting and accessible for complete novices like me. I appreciate your efforts! Keep up the great work! Liked and subscribed!
I cannot stress how much knowledge is packed in this one video. Take notes y'all.
I certainly did 🤘🏻
Thanks! 😀
Brilliant, nothing more to say, I really understand all that theoratical stuff. But now I can feel it much more, thank you very much and also for your other videos. Greetings from Augsburg
this is a brilliant video!!! all the passion you put into your work should absolutely be rewarded more, love love love.
Thanks!
Thank you for making these videos. They remind me of songs that my memory has forgotten.