@Shahar Har-Shuv That song can be in multiple lists. Hopefully the first song in each list is a "pure" example so your ear can pick it out of the mixed songs.
So surprised that Fatboy Slim's "Praise You" doesn't appear in the last chord progression examples (IV/I/V/V), as David literally played it on the piano!
I think another reason why the I-V-bVII-IV progression works is because a descending line cliche is implied. The C in the C, the B in the G, the Bb in the Bb and the A in the F. I use this progression in one of my original songs and I think it's my favourite song that I've ever done. I give credit to the progression itself.
When you just talked about the last chord progression, it actually sounded like a rather common variation of The Mixolydian Vamp; bVII-IV-I-I, which is the same chord in the relative mixolydian scale (if it's written as F-C-G-G, it's just a question of wether C or G is the Tonic chord). Maybe that chord progression deserves a video about how the choice of tonic totally changes how it sounds. Example of songs where it sounds very mixolydian: AC/DC - It's a Long Way to The Top (the third title repeat in the chorus), David Bowie - Heroes (the chorus), Chear - Love Hurts (when she sings the title) and The Rolling Stones - Doom and Gloom (the prechorus).
Yes, it’s interesting to me that some of the examples sounded like the last two bars were the tonic, whereas a few of them sounded more like the dominant chord as David described it. I guess the interpretation has a lot to do with bass motion, melodic contour and wider context. But if I play F-C-G-G with a pedal bass, using G as the bass sounds a lot more comfortable to me than using C as the bass, which suggests to me the Mixolydian interpretation rather than a IV-I-V-V one.
I made a google doc of all these popular chord progressions so I could have them all in one place at a glance. Thanks for all this. It's been such a good tool to practice with as a guitar player. Plus it's so good for writing new music--especially for more generic pieces for background in videos.
I've heard so many cool songs here in the mixolydian scale, I think I'll write a song in mixolydian when my current ones are done. Thank you, David, for all the explanations of how and why these things work!
“Is She Really Going Out With Him?” by Joe Jackson was my introduction to the first sequence. You can also hear it in Billy Joel's “It's Still Rock and Roll To Me”.
I'm a drummer but started playing guitar about a couple years ago and up till I recently came past this channel never really had a basic understanding of chord progressions which I struggled with getting into guitar. Since discovering this channel, I'm finding it's getting better slowly but surely. Thank you for this wonderful content my brother.
I can’t think of where at the moment but I have definitely heard the first progression used as a way to extend the ending of other songs, where after the song resolves instead of ending it plays this progression just to add a little more power to the ending. It’s such a satisfying resolution
The “chord progressions” series has been very impressive, it‘s very revealing how different artists have made use of these musical ideas. No way, or so I would have thought, could Lou Reed and ”Turning Japanese” and the Cranberries have anything in common. Well, shows what I know.
IV I V V has a very hopeful/aspirational sound to it. Because it's all major, you're always looking up. But because it doesn't end on the tonic, it gives this feeling that you're just not quite "there."
My favorite examples of the I V bVII IV progression are Hey Hey What Can I Do, Celebration Day, both by Led Zeppelin, Fat Old Sun by Pink Floyd, and also One Rainy Wish by Hendrix. It’s also just my favorite chord progression in general
If the 5 chord of the first progression were minor instead, it would just be another rotation of the Plagal Cascade that you haven't talked about yet! By the way, love that you used OK Go as an example for that one- I've never looked at that chord progression so closely. Besides, I don't think I realized that Do-Re-Mi used sequence.
Something interesting about the first progression, I - V - bVII - IV is that it allows a chromatic descending melody over it: I - VII - bVII - VI (in C it would be C - B - Bb A). And, if you reorder the progression starting from the third chord, you get an ascending cycle of fifths sequence bVII - IV - I - V (Bb - F - C - G).
The 1, 5, flat 7, 4 was used in a super Nintendo game that I loved as a kid, and once I figured out what it was, I started noticing it everywhere! So it's one of my favorites, glad you led with it
Loved hearing your own noodling around on every chord progression. Your playing was beautiful, and gave a pure sense of the chord progression, which can be camouflaged by the song examples you bring, because there is so much happening in them in terms of instruments and background noise, in such a short snippet of time.
This helps so much ty to be able to connect songs to chords progressions and the emotions they give us is priceless. This is the foundation that drives all music . So the melody and rythem can flow freely over them .
Hey man, just wanted to say you did a great job on Popmaster, you had some really hard questions and a brutal choice of bonuses! In other news, your TH-cam channel is great too!
While listening to David playing the piano for the last progression I was already thinking: "Yeah, that's 'Praise you'! It's definitely going to be the first example!" :D
Another example of I-IV-I-V is I Don't Know My Name by Grace VanderWall, it was the first song I learned on the guitar and it's still the only chord progression i can identify ksksk
I think it's worth noting that in Western popular music, songs that use I-II-V and I-IV-I-V will often add a little bit of dissonance and sonic interest by using the V7. One common pattern I've noticed in a lot of old standards is switching back and forth between the straight V and the V7 from one chord phrase to the next. It's so common that a lot of beginner piano students will learn G7 before learning G. (I know I did!)
Heard you on Radio 2 today ‘pop master’ got to say, you had some tough questions. Bad luck.Keep up the great work on your channel , really enjoy your break down of the songs.
Always love your vids and you really opened my musical mind with the brighter/darker (or cooler) take on modes - so much so that I guessed mixolydian by ear, which is a first for me.
One of my favorite songs with the I V bVII IV chord progression is "Never my love" by the Association. nice to see a variety of decades and artists, especially a group like Blink 182 from my youth.
The I V flatVII IV progression gave me epiphanies; each of the example songs have a different sound and feel, even though they share a chord progression. I also thought of the intro of Steely Dan's "Peg", which uses that same chord movement. So, if I'm really working my composing game, I could get my own unique sound from this kind of cadence. Not every chord progression gives me that sense. This is an excellent music theory lesson, David, and you're an exceptional educator.
This is personally my favorite series on this channel like honestly speaking🙂 At least I don't have to replay the songs I wanna play a thousand times just to find out which progressions they use *AND* plus some of these progressions are pretty great🎹☆ so they're quite fun to use during my practice sessions😁 Really appreciate the effort u make in creating such educating stuff like this man. Thanks a bunch!
10:10 This somewhat reminded me "Śmierć poety" ("Death of the poet") by Polish rock band Kult. And sure enough... It's exactly the same chord progression. Em F.
Amazing video as always, i would say that the "phrygian vamp" would be seen as a iii - IV progression (for example Em - F in the key of C major), but your analysis works just as well!
One thing you didn't mention in the first progression was the descending chromatic movement within it. Let's say we play it in the key of D. The progression would be D-A-C-G. But within those chords you've got D-C#-C-B. So four half steps. Any time your progression has that kind of line cliche within it, it's going to have a natural flow.
Came here just to say this. To actually add something to the discussion: If you play the progression on electric guitar with a power chord for the I, then scoot the root down to become the 3rd of the V chord, then repeat for the bVII and IV chords, you end up with Hold On Loosely by 38 Special or Overkill by Men at Work.
I find the IV-I-V progression interesting. Whether you feel the V cord as a dominant often depends on the melody. It can just as easily be a bIIII-bVIiI-I. I suppose it matters whether the I is major or minor ((i) in this context. But without the melodic song examples,I heard that “V”chord as a “I” chord.. there are plenty of examples of this in the rock realm, even where the “I” isn’t an explicit or implied minor.
Regarding the first progression (I-V-bVII-IV): In addition to the sequencing and the mixed mode (major and mixolydian), I would also note the chromatic downward progression of notes belonging to each chord, starting at the root. I.e., in the key of C: C-B-Bb-A. I think that gentle descent provides a pleasing experience to the listener. It does to THIS listener, at least. 🙂
I know it’s basic, but I - V - ♭VII - IV is my favourite chord progression. Some of my favourite tunes using the progression are Constants are Changing by Boards of Canada, Small by Lamb, Sugar Hiccup by Cocteau Twins, and Cherub Rock by The Smashing Pumpkins.
Now for a video game example! The Phrygian vamp evokes for me images of Super Metroid's Red Brinstar area. It's just right to capture the foreboding atmosphere as you get into the real meat and potatoes of the game and the difficulty increases dramatically. As it is a chord equivalent of the Jaws interval of a repeating minor second, it works rather well for that feeling of dread.
It’s not so common in more recent music but a great one used a lot in older jazz tunes is the Bird blues, variations of it can be found in a lot of jazz standards and even Yesterday by the Beatles
Describing the "sequence" aspect of the first progression made me realize that it could very easily be extended out to an 8-bar progression by following it up with bVII / bIII / two bars of V. Gives a nice chromatic walkdown from I to V. I'm, like, 90% sure I've heard that used somewhere, but I have no idea where.
I knew you analyze chord progressions - wich I think you do very good, by the way! - so I thought you have something to say about thus one I just came across: vi - IV - I -V
I was trying to remember where else I'd heard the IV-I-V-V progression; I think the solo section from Jumper by Third Eye Blind uses that progression (or at least some variation). Great video btw :)
Lots of people are talking about "Praise You" by Fatboy Slim, but the first example that came to mind for me was "Steal My Sunshine" by Len for the IV - I - V - V
That Tokens song, The Lion Sleeps Tonight, goes back to a song called Mbube by Solomon Linda in the late 1930s in South Africa. It was so influential that it became the namesake for an entire genre of music that is being performed today.
Nothing to Find by The War On Drugs (BEST band out there now) starts I ii IV V - then continues on to vi iii IV IV giving it an ascending then descent to small climb again. Love that song
Merci beaucoup for this. Your channel inspired me to start learning the piano 6 months after my retirement and a life of thinking I was not musical. My joke was that I was born with two left ears. But you're making me dance, David.
The modal mixture idea David claims is happening 4:30 - 4:40 is interesting. The lessons from this video are crucial and vital but can lead people to think they have to know so much before they begin creating music. Do you think the artist is in the mindset of modal mixture of ionian and mixolydian or is the artist just in the mindset of the mixolydian mode all by itself? If you think it's the former, then all songs are mixtures of the different modes. Songs can be analyzed this way after they've been written but artists aren't writing with the idea they are combining two different modes here. They are writing this from the perspective of the mixolydian mode. David's knowledge is vast and I'm paying close attention to it. You should as well but I believe this small detail is important. Analysis paralysis comes to my mind.
When you played that I-V-bVII-IV progression on piano in the key of C, the example that immediately sprung to my mind was: "(You Make Me Feel Like A) Natural Woman" by Aretha Franklin (ah-oop!) also in the key of C: "It's Still Rock and Roll to Me" by Billy Joel "Being for the Benefit of Mr. Kite" by the Beatles as for any other key, many examples: "Hold on Loosely" by .38 Special; "Overkill" by Men at Work; "The World I Know" by Collective Soul; "She's Got Issues" by Offspring; "Is She Really Going Out With Him?" by Joe Jackson; "I'm Free" by Soup Dragons; "Bittersweet Symphony" by the Verve; "Don't Tell Me" by Madonna; "Make You Feel My Love" by Adele (cover) also the chorus from Pink Floyd's "Comfortably Numb" ("...a distant ship smoke on the horizon / You are only coming through in waves...")
WHOOHOO! 😃 A chord pattern I've suggested in the comments to two previous videos in this series has finally made it in! (It's the second one you talked about; I ii IV V ).
Hi David, not sure if you already have this in the pipeline but I think a video on songs that use the minor plagal cadence would be cool! Love your videos I’ve learned so much through your content
Thought with all your musical theory knowledge you would be a Pop master 😏 Was a pleasant surprise hearing you on the radio. Have dipped in to watching you on here occasionally over the years. Keep up the good work.
@@DavidBennettPiano I thought it was an evil set of questions for you anyway!! Good shout out for your You tube channel though, which is how I arrived here and so very glad I did - now to explore :)
As I commented separately, very weird to hear you on radio. Weird collision of worlds. :) Well done. At least you got Elvis Presley, that would have been a bad one to get wrong! :)
I really appreciated the approach you took on this video, David. You explained the concepts in simple words for a guy like me who doesn't really understand music theory, and laid out why these chord progressions work in so many songs. Modes like phyrigian and mixolydian make an appearance here, but your mentioning them doesn't detract from my basic understanding of the chord progressions you're describing. In commenting on a few recent videos of yours, I've expressed my bewilderment at your explanation of some of the more advanced concepts like modes. I don't want or expect you to stop talking about advanced music theory concepts, but I hope you will also continue to make videos to explain music for those of us who are "less advanced" in our understanding of music theory. I'm guessing I'm probably not the only one. Thanks!
Ben Lee, Catch My Disease! Love that song, and thank you for teaching me it’s I-ii-IV-V. Had been playing it as I-vi-IV-V because my novice guitar brain is so stuck on those 4 chords. Same for 99 luftballoons. Lucky for me ii is also an easy open guitar chord (in G or C).
You should consider making a series of Spotify playlist based on each chord progression and songs that conform to it!
brilliant!
The thing is each song typically contains more then one progression
Holy crap yes this is a great idea.
You should make the playlist for each progression then we’ll sell it to David and split the proceeds 60/40 myself being 60 of course 😅
@Shahar Har-Shuv That song can be in multiple lists. Hopefully the first song in each list is a "pure" example so your ear can pick it out of the mixed songs.
So surprised that Fatboy Slim's "Praise You" doesn't appear in the last chord progression examples (IV/I/V/V), as David literally played it on the piano!
Yep, came here to see if anyone else had commented this
I found myself singing along to Praise You assuming he was gonna mention it!
That is literaly the song he played to demonstrate the progression !!!!
Good song
Hats off to Fatboy Slim, but let’s also praise the source: “Take yo’ praise” by Camille Yarbrough
BIG shoutout to ALL patrons keeping alive this AMAZING music education channel. Keep on rockin' David!
I think another reason why the I-V-bVII-IV progression works is because a descending line cliche is implied. The C in the C, the B in the G, the Bb in the Bb and the A in the F. I use this progression in one of my original songs and I think it's my favourite song that I've ever done. I give credit to the progression itself.
I thought of this too. It’s a neat hidden chromatic line
Thank you so much David, every time I watch any of your videos always blows my mind. You are such an amazing teacher.
I really like this "chord progressions and why they work" series of videos David, please keep 'em coming!
When you just talked about the last chord progression, it actually sounded like a rather common variation of The Mixolydian Vamp; bVII-IV-I-I, which is the same chord in the relative mixolydian scale (if it's written as F-C-G-G, it's just a question of wether C or G is the Tonic chord). Maybe that chord progression deserves a video about how the choice of tonic totally changes how it sounds. Example of songs where it sounds very mixolydian: AC/DC - It's a Long Way to The Top (the third title repeat in the chorus), David Bowie - Heroes (the chorus), Chear - Love Hurts (when she sings the title) and The Rolling Stones - Doom and Gloom (the prechorus).
I was thinking the same thing.
Yes, it’s interesting to me that some of the examples sounded like the last two bars were the tonic, whereas a few of them sounded more like the dominant chord as David described it. I guess the interpretation has a lot to do with bass motion, melodic contour and wider context. But if I play F-C-G-G with a pedal bass, using G as the bass sounds a lot more comfortable to me than using C as the bass, which suggests to me the Mixolydian interpretation rather than a IV-I-V-V one.
I was just about to write the same comment!
praise you by fatboy slim?
that's the only way I hear it. The I chord in the video never sounds resolved.
I made a google doc of all these popular chord progressions so I could have them all in one place at a glance. Thanks for all this. It's been such a good tool to practice with as a guitar player. Plus it's so good for writing new music--especially for more generic pieces for background in videos.
I've heard so many cool songs here in the mixolydian scale, I think I'll write a song in mixolydian when my current ones are done.
Thank you, David, for all the explanations of how and why these things work!
“Is She Really Going Out With Him?” by Joe Jackson was my introduction to the first sequence. You can also hear it in Billy Joel's “It's Still Rock and Roll To Me”.
I'm a drummer but started playing guitar about a couple years ago and up till I recently came past this channel never really had a basic understanding of chord progressions which I struggled with getting into guitar. Since discovering this channel, I'm finding it's getting better slowly but surely. Thank you for this wonderful content my brother.
I can’t think of where at the moment but I have definitely heard the first progression used as a way to extend the ending of other songs, where after the song resolves instead of ending it plays this progression just to add a little more power to the ending. It’s such a satisfying resolution
The “chord progressions” series has been very impressive, it‘s very revealing how different artists have made use of these musical ideas. No way, or so I would have thought, could Lou Reed and ”Turning Japanese” and the Cranberries have anything in common. Well, shows what I know.
IV I V V has a very hopeful/aspirational sound to it. Because it's all major, you're always looking up. But because it doesn't end on the tonic, it gives this feeling that you're just not quite "there."
And yet IV-vi-V-V carries the exact opposite intonation. Your eyes don't look so truthful anymore...
My favorite examples of the I V bVII IV progression are Hey Hey What Can I Do, Celebration Day, both by Led Zeppelin, Fat Old Sun by Pink Floyd, and also One Rainy Wish by Hendrix. It’s also just my favorite chord progression in general
I got a David Bennett piano app ad on a David Bennett piano video
Love it
If the 5 chord of the first progression were minor instead, it would just be another rotation of the Plagal Cascade that you haven't talked about yet! By the way, love that you used OK Go as an example for that one- I've never looked at that chord progression so closely.
Besides, I don't think I realized that Do-Re-Mi used sequence.
guys actually a really good teacher, because although I know music inside and out I'm self taught but can't read music and he makes this comprehensive
Something interesting about the first progression, I - V - bVII - IV is that it allows a chromatic descending melody over it: I - VII - bVII - VI (in C it would be C - B - Bb A). And, if you reorder the progression starting from the third chord, you get an ascending cycle of fifths sequence bVII - IV - I - V (Bb - F - C - G).
My favourite I V bVII IV is probably Tunnel of Love. That progression just gives the tune so much drive.
I am a drummer but how you explaining it I'm getting it about 60%, thank you for that.
The 1, 5, flat 7, 4 was used in a super Nintendo game that I loved as a kid, and once I figured out what it was, I started noticing it everywhere! So it's one of my favorites, glad you led with it
What was the game called?
@@ChappyMonster Uniracers! Once you earned a medal, it was the victory song.
Thanks for doing another one of these. I've found them really useful for my own music.
I'm glad you like them!
I’m always surprised when I see how many great songs share the same chord progression 😊👏🏻
that's why you can't copyright a chord progression, only the lyrics and melody
Another couple of examples of the I V bVII IV progression is Fat Old Sun by Pink Floyd and Dean Town by Vulfpeck
Great video as always
Hell yeah, i love playing Fat Old Sun, very satisfying to play.
@@NBrixH Yeah its such a great tune to jam, David Gilmour's live in Gdansk solo is one of his best as well
Always loved that Pink Floyd song, Gilmour's solo at the end is so good
the chorus of comfortably numb also. "There is no pain..."
Loved hearing your own noodling around on every chord progression. Your playing was beautiful, and gave a pure sense of the chord progression, which can be camouflaged by the song examples you bring, because there is so much happening in them in terms of instruments and background noise, in such a short snippet of time.
This helps so much ty to be able to connect songs to chords progressions and the emotions they give us is priceless. This is the foundation that drives all music . So the melody and rythem can flow freely over them .
I came here after listening to you on PopMaster - quite a useful channel! 👍
Thanks for stopping by! Shame I didn’t get any Beatles questions today 😂😆
This is the first time Ive seen your videos, thankful for your experience and expertise. Subscribed :)
Wow. I never noticed what's common in all my favourite songs. I'm a simple person, turns out. I hear I-V-bVII-IV, I like it.
Hey man, just wanted to say you did a great job on Popmaster, you had some really hard questions and a brutal choice of bonuses! In other news, your TH-cam channel is great too!
I V bVII IV is such an amazing chord progression!
Two great songs that use this progression:
Bee Karma - Wand
Amor Fati - Washed Out
Yes!
"Comfortably Numb " by Pink Floyd is another terrific song using this progression
While listening to David playing the piano for the last progression I was already thinking: "Yeah, that's 'Praise you'! It's definitely going to be the first example!" :D
same here
Your music repertory is very much impressive!
Another example of I-IV-I-V is I Don't Know My Name by Grace VanderWall, it was the first song I learned on the guitar and it's still the only chord progression i can identify ksksk
Another one: Why don't you get a job? from the Offspring
Loving the chord progression videos.
In the I V bVII IV progression, if you use inversions of the V and the IV chord, you can have a chromatic bass line like C-B-Bb-A :)
Yeah, Remember Tomorrow! That's one of my favorite songs ever! I love this channel!!
Zero filler! What a fantastic channel!
Very well done, thanks.
Big miss on the classic "4 chords" video, though.... I - V - vi - IV
I think it's worth noting that in Western popular music, songs that use I-II-V and I-IV-I-V will often add a little bit of dissonance and sonic interest by using the V7. One common pattern I've noticed in a lot of old standards is switching back and forth between the straight V and the V7 from one chord phrase to the next. It's so common that a lot of beginner piano students will learn G7 before learning G. (I know I did!)
You are the best TH-camr imho if it comes down to music theory and everything that goes with it🙂
Heard you on Radio 2 today ‘pop master’ got to say, you had some tough questions. Bad luck.Keep up the great work on your channel , really enjoy your break down of the songs.
Always love your vids and you really opened my musical mind with the brighter/darker (or cooler) take on modes - so much so that I guessed mixolydian by ear, which is a first for me.
One of my favorite songs with the I V bVII IV chord progression is "Never my love" by the Association.
nice to see a variety of decades and artists, especially a group like Blink 182 from my youth.
A fastly recognized example of the Phrygian vamp (i-bII) is Bowie's Space Oddity intro.....
The I V flatVII IV progression gave me epiphanies; each of the example songs have a different sound and feel, even though they share a chord progression. I also thought of the intro of Steely Dan's "Peg", which uses that same chord movement.
So, if I'm really working my composing game, I could get my own unique sound from this kind of cadence.
Not every chord progression gives me that sense.
This is an excellent music theory lesson, David, and you're an exceptional educator.
This is personally my favorite series on this channel like honestly speaking🙂
At least I don't have to replay the songs I wanna play a thousand times just to find out which progressions they use *AND* plus some of these progressions are pretty great🎹☆ so they're quite fun to use during my practice sessions😁
Really appreciate the effort u make in creating such educating stuff like this man. Thanks a bunch!
Orinoco Flow with their Sail Away was the first song I thought of when he started playing the IV-I-V-V progression...
Love your channel. Also you did well on pop master today! Tough questions!
phrygian vamp is dope !!!
I always thought of this first I-V-bVII-IV as two plagals descending by a tone/step
10:10 This somewhat reminded me "Śmierć poety" ("Death of the poet") by Polish rock band Kult. And sure enough... It's exactly the same chord progression. Em F.
Amazing video as always, i would say that the "phrygian vamp" would be seen as a iii - IV progression (for example Em - F in the key of C major), but your analysis works just as well!
If you ever make another one, make sure to mention the Midnight City chords: IV - vi - V - ii. It sounds great and is in plenty of songs.
One thing you didn't mention in the first progression was the descending chromatic movement within it. Let's say we play it in the key of D. The progression would be D-A-C-G. But within those chords you've got D-C#-C-B. So four half steps. Any time your progression has that kind of line cliche within it, it's going to have a natural flow.
Came here just to say this. To actually add something to the discussion: If you play the progression on electric guitar with a power chord for the I, then scoot the root down to become the 3rd of the V chord, then repeat for the bVII and IV chords, you end up with Hold On Loosely by 38 Special or Overkill by Men at Work.
I find the IV-I-V progression interesting. Whether you feel the V cord as a dominant often depends on the melody. It can just as easily be a bIIII-bVIiI-I.
I suppose it matters whether the I is major or minor ((i) in this context. But without the melodic song examples,I heard that “V”chord as a “I” chord.. there are plenty of examples of this in the rock realm, even where the “I” isn’t an explicit or implied minor.
Just dropped by to say good effort on Popmaster! 😁
Cheers! 😀😆
Very useful segment. Thanks, David!
Thanks! 😃
Thank you, that was very helpful
Brilliant breakdown David. Absolutely spot on.
Goodluck on the radio this morning. 21 to beat!
Thanks!
Regarding the first progression (I-V-bVII-IV): In addition to the sequencing and the mixed mode (major and mixolydian), I would also note the chromatic downward progression of notes belonging to each chord, starting at the root. I.e., in the key of C: C-B-Bb-A. I think that gentle descent provides a pleasing experience to the listener. It does to THIS listener, at least. 🙂
I know it’s basic, but I - V - ♭VII - IV is my favourite chord progression.
Some of my favourite tunes using the progression are Constants are Changing by Boards of Canada, Small by Lamb, Sugar Hiccup by Cocteau Twins, and Cherub Rock by The Smashing Pumpkins.
My suggestions for more common chord progressions.
1. i - bIII - bVI - bVII
2. i - bVII - bIII - bVI
3. i - bVII - iv - iv
4. i - bVI - bVII - v
Now for a video game example! The Phrygian vamp evokes for me images of Super Metroid's Red Brinstar area. It's just right to capture the foreboding atmosphere as you get into the real meat and potatoes of the game and the difficulty increases dramatically. As it is a chord equivalent of the Jaws interval of a repeating minor second, it works rather well for that feeling of dread.
Always great content David - 👍👍👍
😎😎
I love the forward driving force behind the I/ii/IV/V progression and think it works perfectly in punk songs
It’s not so common in more recent music but a great one used a lot in older jazz tunes is the Bird blues, variations of it can be found in a lot of jazz standards and even Yesterday by the Beatles
A close relative to the Phrygian Vamp is the Phrygian Dominant/Double Harmonic/Flamenco vamp, I bII
These videos are GOLD! Loaded with many practical applications … so good!
You should create a cadence ear training course. Seriously 🇨🇦
Thank you, David. You're such an amazing theory teacher!
Describing the "sequence" aspect of the first progression made me realize that it could very easily be extended out to an 8-bar progression by following it up with bVII / bIII / two bars of V. Gives a nice chromatic walkdown from I to V.
I'm, like, 90% sure I've heard that used somewhere, but I have no idea where.
Thanksgiving is coming up, and I just wanted to say I am thankful for David Bennett!
I knew you analyze chord progressions - wich I think you do very good, by the way! - so I thought you have something to say about thus one I just came across: vi - IV - I -V
I was trying to remember where else I'd heard the IV-I-V-V progression; I think the solo section from Jumper by Third Eye Blind uses that progression (or at least some variation). Great video btw :)
This is soooo interesting - very cool!!
Lots of people are talking about "Praise You" by Fatboy Slim, but the first example that came to mind for me was "Steal My Sunshine" by Len for the IV - I - V - V
12:54 its the chord version of edging
That Tokens song, The Lion Sleeps Tonight, goes back to a song called Mbube by Solomon Linda in the late 1930s in South Africa. It was so influential that it became the namesake for an entire genre of music that is being performed today.
Our favourite music teacher
Extrordinarily valuable to me. As usual!
Nothing to Find by The War On Drugs (BEST band out there now) starts I ii IV V - then continues on to vi iii IV IV giving it an ascending then descent to small climb again. Love that song
Merci beaucoup for this. Your channel inspired me to start learning the piano 6 months after my retirement and a life of thinking I was not musical. My joke was that I was born with two left ears.
But you're making me dance, David.
The modal mixture idea David claims is happening 4:30 - 4:40 is interesting. The lessons from this video are crucial and vital but can lead people to think they have to know so much before they begin creating music. Do you think the artist is in the mindset of modal mixture of ionian and mixolydian or is the artist just in the mindset of the mixolydian mode all by itself? If you think it's the former, then all songs are mixtures of the different modes. Songs can be analyzed this way after they've been written but artists aren't writing with the idea they are combining two different modes here. They are writing this from the perspective of the mixolydian mode. David's knowledge is vast and I'm paying close attention to it. You should as well but I believe this small detail is important.
Analysis paralysis comes to my mind.
you‘re incredible! :D Love your videos, I‘m going to recommend your channel to a friend of mine who‘s studying musicology.
Great 😊
When you played that I-V-bVII-IV progression on piano in the key of C, the example that immediately sprung to my mind was:
"(You Make Me Feel Like A) Natural Woman" by Aretha Franklin (ah-oop!)
also in the key of C:
"It's Still Rock and Roll to Me" by Billy Joel
"Being for the Benefit of Mr. Kite" by the Beatles
as for any other key, many examples:
"Hold on Loosely" by .38 Special; "Overkill" by Men at Work; "The World I Know" by Collective Soul; "She's Got Issues" by Offspring; "Is She Really Going Out With Him?" by Joe Jackson; "I'm Free" by Soup Dragons; "Bittersweet Symphony" by the Verve; "Don't Tell Me" by Madonna; "Make You Feel My Love" by Adele (cover)
also the chorus from Pink Floyd's "Comfortably Numb" ("...a distant ship smoke on the horizon / You are only coming through in waves...")
I heard you on Pop master today, you did well. Some tough questions there.
Yeah, tough round! Thanks!
WHOOHOO! 😃 A chord pattern I've suggested in the comments to two previous videos in this series has finally made it in! (It's the second one you talked about; I ii IV V ).
Excellent, David thank you for the upload.
Hi David, not sure if you already have this in the pipeline but I think a video on songs that use the minor plagal cadence would be cool! Love your videos I’ve learned so much through your content
Thought with all your musical theory knowledge you would be a Pop master 😏 Was a pleasant surprise hearing you on the radio. Have dipped in to watching you on here occasionally over the years. Keep up the good work.
Didn’t help me today sadly. 😃😆
@@DavidBennettPiano I thought it was an evil set of questions for you anyway!! Good shout out for your You tube channel though, which is how I arrived here and so very glad I did - now to explore :)
@@mikemcdaid8719 yeah they were difficult today!! Thanks for checking out the channel 😃
As I commented separately, very weird to hear you on radio. Weird collision of worlds. :) Well done. At least you got Elvis Presley, that would have been a bad one to get wrong! :)
Excellent lesson as always 👏🏻👏🏻👏🏻
An important element of the I V bVII IV progression is that you can have a descending chromatic bassline. For example in C you can have C B Bb A.
I really appreciated the approach you took on this video, David. You explained the concepts in simple words for a guy like me who doesn't really understand music theory, and laid out why these chord progressions work in so many songs. Modes like phyrigian and mixolydian make an appearance here, but your mentioning them doesn't detract from my basic understanding of the chord progressions you're describing.
In commenting on a few recent videos of yours, I've expressed my bewilderment at your explanation of some of the more advanced concepts like modes. I don't want or expect you to stop talking about advanced music theory concepts, but I hope you will also continue to make videos to explain music for those of us who are "less advanced" in our understanding of music theory. I'm guessing I'm probably not the only one. Thanks!
Ben Lee, Catch My Disease! Love that song, and thank you for teaching me it’s I-ii-IV-V. Had been playing it as I-vi-IV-V because my novice guitar brain is so stuck on those 4 chords. Same for 99 luftballoons. Lucky for me ii is also an easy open guitar chord (in G or C).
Blur's Out of time another great phrygian vamp example.... Great video as always
Great song!
10:31 best part
Yet another cool video.
Breaking theory into little bites that are easily understood.
Good stuff.💪👍🥃🎸
Thanks 👍
i flat II is used in reggae