For a limited time, get 20% off select Hooktheory products when you use this link: www.hooktheory.com/davidbennett 📌Another Bond theme that quotes the motif that I forgot to mention is Shirley Bassey's "Goldfinger" which makes use of the Bond motif near the end of the song and this was actually the year before Tom Jones' "Thunderball". Thanks to the commenters who drew my attention to that example 😊😊
Live and Let Die has hints of the motif. Right before the orchestra part when paul McCartney sings “live and let die” it goes from G7 - C/G - Gdim7 which contain the notes B-C-C# I can definitely hear the James Bond sound in that part
Wrong order. The bit on "live & let die" lyric is G - C/G - Gdim - G7. The song has "danger feel" but it comes from odd interjection of minor & diminished chords, or oddball chords like D7flat9 (a D7 with a dissonant D# note on top, or maybe it's F# dim over a D). Leave it to Paul to do his own thing - and well.
@@loseryoutube6132 Shoot I KNEW Paul had used the Bond move with the Augmented chord - somewhere. Thanks for identifying it. A bit surprising, maybe, that David's search tool didn't catch it?
I've tried writing 'Spy' music as it were, and it's so difficult to find something that evokes the same feeling of Bond without actually using the same chords from his theme. Everything about those four chords exemplifies who the character is - mysterious, dangerous, suspenseful, suspicious, etc. It many ways it cannot be topped as a spy theme. The only thing that kinda comes close is the Mission Impossible theme, but that has always felt a little more 'fun and adventure' like. Bond's theme has always felt more gritty and dangerous.
The guitar piece from “Is There Anybody Out There?” from Pink Floyd’s “The Wall” is another great example of where this chord progression is used! I believe the chords use different inversions of those in the original Bond progression, with the Bond progression being Am, F/A, F#dim/A, F/A, and the progression from “Is There Anybody Out There?” being Am/E, Fmaj7, F#m7b5, Fmaj7. They’re basically the exact same notes, just inverted. This is the first song I thought of when I heard this chord progression, and I definitely recommend listening to it again for the sound of the Bond progression!
@@danielbu1631I don’t think “Empty Spaces” quite uses the Bond progression, although the motion of the notes within the chords is very similar, starting on a note, moving up to a close by note, moving up to another close by note, and back down. I can definitely see where you’re coming from! This seems to be a motif that appears throughout “The Wall”, most notably in the “Another Brick in the Wall” trilogy. It can also be heard at the end of “Hey You” and “Waiting for the Worms”.
It might be worth mentioning that several early Bond songs were written in G major. This seems to facilitate the transition between the title song and the Bond theme (in Em) for the film scoring.
That part makes me think of Led Zeppelin Kashmir. At least when I first heard, as teenager in "the Call of Ktulu" by Metallica, where Dave originally used this sam riff. Later Dave simply re-used it in "Hangar 18" So it's originally "the Call of Kthulu" riff. Listen to Kashmir, check out the resemblance. It sounds way more inspired by Kashmir then it does to the James Bond theme.
Panic Attack by Dream Theater does this sorta thing too....there's tons of other examples in more niche metal bands that I can't think of right now....but never deny the coolness/impact of a chromatic line, ascending or descending
The verse of Goldeneye uses this chord progression to back Tina Turner’s vocals. Still one of my all-time favourites, although some of the more recent themes are not far behind.
I love the Bond Themes that include the semi-tone motive. Sheryl Crowe's & Adele's are two of my favourite most recent ones. Bond Themes are an art form on their own.
That motif was used way back in old big band arrangement from the 40s (which I believe is where Barry first heard it). Just another device to build motion into a static minor chord change.
The theme for Flying Battery zone from Sonic 3 and Knuckles uses this chord progression It's also used in the track from Rayman Legends "The spy who kicked me"
This progression appears in the old James Bond's song Goldfinger by Shirley Bassey, too. Like in Tom Jones's, the theme is touched here and there but in the finale is repeated many times to a climax. Thank you for this interesting video!
Imagine making such an iconic chord progression to the point you literally monopolize it, making any song that uses such chord progression instantly reminds anyone of your song 👁👄👁
Thanks for the video! Here are some more songs where I think the James Bond theme is recognizable: Madonna - Deeper And Deeper (around 2:56-3:28) Robert Miles - Landscape Depeche Mode - It's No Good (around 3:00) US5 - The Boys Are Back (around the bridge) Ovidiu Anton - Moment Of Silence (around the beginning of 2nd verse) Eneda Tarifa - Fairytale [almost: Liza Minnelli - Losing My Mind]
There’s a lovely Italian song (actually a rewriting of an obscure American pop song) made famous by Mina Mazzini, called “Città vuota”, which does that progression in the context of the I and ii chords. In A: A - F+/A - A6 - F+/A, Bm - G/B - Bm6 - G/B.
There's a riff in Opeth's song Bleak (comes right after the acoustic section halfway through the song) that uses that same motion, same inversions with the E in the bass, but instead of G being the other note shared between the chords, in this riff it's F#
Great job as always. Supremacy from Muse's The 2nd law album is clearly an hommage to the James Bond theme. We found the progression and even the James Bond chord Em Major 9 at the end of the song.
Came here to say this. Supremacy almost seems purpose-written as a Bond theme! I've seen some people edit James Bond opening sequences to it, and it really works.
Actually, Muse did put forward Supremacy to be used in Skyfall, instead of Adele’s theme, but was rejected. The band released it on their next album The Second Law anyway as they’d already written and recorded it
This progression is just one more reason why I love the Bond films, it just adds that level of mystique and I love it and it still reminds me of a guitar riff that I wrote that took some influence from the Bond chords
It’s the third time in a couple of months that I am thinking of a progression and the exact same day you post a video about that chord progression!! Wizardry?! 🧙🏻♂️
I can't believe nobody mentioned 'The Court of the Crimson King' by King Crimson, they use the same cliché (though not exactly the same chord progression at the beginning, the Em) and then again with the 4th, starting at Am. This and 'Is There Anybody Out There?' by Pink Floyd are the first examples that came to my mind.
What's so weird is that you put this video out today when I've been listening to James Bond themes this morning after hearing A View from a Kill by Duran Duran earlier. *mind blown*
Dido - Thank You (and it's not so bad, it's not so bad..) Guess Who - Undun (too many mountains and not enough stairs to climb..) The The - Love is Stronger Than Death (In this world even winter ain't what it seems)
French singer/actor Serge Gainsbourg had a song in 1960 called "L'eau à la bouche" that has a similar progression, 60s vibe AND electric guitar twang! Strangely, John Barry and Gainsbourg were both romantically linked with actress Jane Birkin who is also known for her duet with Serge "Je t'aime... moi non plus".
My favourite example is Brian Wilson by Barenaked Ladies. It's such a contrast to the sweet opening and really captures the sense of rising anxiety in that song.
Everytime you post any chord progression videos I try to figure out songs on my own as a fun exercise before going forward with the examples, and this time I was thinking on Akira Yamaoka's Promise, so happy to see you included it!
I just call it "the ascending line cliche that gives up," although usually in major it would make it's way up to the 7th for a V7/IV. Nice study David!
Both 'you know my name' and 'skyfall' are some of the better songs often repeated on the radio here. Did not know they were made for Bond, rather neat!
One chord progression that is very similar to this one is the I I+ I6 I+ or I I+ vi I+ chord progression! It combines the augmented climb progression’s major-ness with the same chromatic movement of the James Bond progression, making a chord progression that feels somewhat unresolved and bittersweet (at least to my ears). It’s a great chord progression to look into if you’d like! Some songs I know with this chord progression include: Impossible Year - Panic! At The Disco Greatest Love of All - Whitney Houston Notion - The Rare Occasions Underground - Ben Folds Five I Got Love - Mother Mother Stay Behind - Mother Mother Ryne’s Song - Ashe Off She Goes - Bad Suns Christmas Kids - Roar There Is A Sound - The Handsome Family
I see nobody's yet commented about your nod to the Doctor Who soundtrack but I would LOVE it if you'd dedicate an entire video to it, I think Murray Gold did some amazing work for that soundtrack and some of the tracks are incredible pieces of music in their own right.
Yeah, out of all your chord progression videos I've watched, I think this is by far the most distinctive. Even with all the variations, and including songs that weren't theme songs from bond movies, there is no way to avoid thinking of James Bond when you hear it. With others, some songs have enough differences in melody, instruments, etc., that I wouldn't easily recognize that they use the same progression. These examples are all unmistakeable to me.
Nina Simone’s “Feeling Good” has this as a refrain between sections of the music. As far as I can tell without playing through the music to check. At the end of the second verse. But it certainly sounds similar. And the verse also has the descending minor bass line cliche. But there is a simple explanation. The song was originally written by Anthony Newley and Leslie Bricusse. Who also wrote the lyrics to “Goldfinger”. I am not sure of the exact sequence of the original song, Simone’s recording and the release of the film, but they were all around the same period. And Bricusse also wrote the lyrics to “You Only Live Twice”
This is my favorite channel for music theory - puts together very practical musical knowledge with great breakdowns and examples. I’m wondering if there’s more content to be had talking about intervals and two chord sequences. The existing videos cover that already, but usually in passing. For example, today’s progression starts with vi IV (or i VI) sequence,which is worth its own video imo with examples of other progressions that include it. There would be no Iron Maiden without i VI. Another worth talking about would be i III, there’d be no Linkin Park without that. Could go even further and just break down intervals the same way. Again, I know that content already exists on this channel, but it’s less common to see theory presented in the bottom-up order, starting with one basic interval and evolving from there.
Not a big James Bond fan, but I do love how the theme can be adapted to be any combination of epic, haunting, or mysterious. I may be showing my colours here, but I'd love for David to look at the music theory behind the Doctor Who theme (a franchise of which I *am* a big fan).
Le poinçonneur des lilas is the first song that made Serge Gainsbourg famous in France. It was released in 1958, 4 years prior to the first James Bond and is based on the same chromatism.
This progression is in my favorite song, The Phoenix by Fall Out Boy. I love this chord progression. It goes very well with the melody of The Phoenix and harmonizes beautifully with the words "remix" and "phoenix". It has probably got to be my favorite of all time. I feel blessed to have this video and this progression.
I personally use the i, bVI, IV7 in some variation. Just love the modulation from natural minor to Dorian mode, great for some simple but satisfying melodies
"25" by the Pretty Reckless is a fantastic rock song based very heavily on this progression, and I'm slightly stunned game music was discussed without mention of the Succession of Witches motif permeating a huge portion of the Final Fantasy 8 soundtrack!
A very similar progression is used in Gordon Lightfoot's classic "Black Day in July" (1968). I learned a lot from Lightfoot songbooks as a kid when I was learning guitar and those chords (which were labelled Em, EmaddC, and EmaddC#) instantly put me in mind of the Bond theme. I guess it's a great progression to add tension.
Serge Gainsbourg used the progression as early as 1958 in his "Poinconneur des Lilas". Arthur Brown's "Child Of My Kingdom" also uses the progression, as does Tom Robinson's "Glad To Be Gay". (This latter song also uses the familiar minor-chord line cliche with a chromatically falling bass.)
Hi i just wanted to say thanks for your videos i watch your vidoes about modes all the time because they are one of my favourite musical concepts and i just love the format of your videos and how informative they are and theyre just great so thank you for making them
FANTASTIC video, David. However, you mentioned that Thunderball was the first Bond movie to include the JB motif within its opening movie theme. Actually, both From Russia With Love and Goldfinger incorporated this progression within their theme songs as well. (And if you want to get really picky about this, the very first Bond movie (Doctor No) also included it . . . . since its opening movie theme WAS the James Bond Theme.)
Hello from Koreatown near downtown Los Angeles. Thank you David Bennett. I didn't realize that Chris Cornell (RIH) of Soundgarden contributed to the James Bond theme
Blondie’s ‘Last Contact in Red Square’ briefly uses this in the intro to evoke a ‘spy feel’. And in terms of video games, both the ‘Mini Boss’ theme and ‘Flying Battery Zone’ from Sonic & Knuckles use this motif as well!
I don't know if the original Aquarela do Brasi from 1939 contains the chord progression (there are so many recordings and interpretations) but the reworking of it for the theme to Terry Gilliam's Brazil (which was named for the song) in 1985, by Kate Bush and Michael Kamen, certainly does. Life In Dark Water by Al Stewart also has this as a motif. I think we have to assume everything after 1962 that uses this progression does so deliberately 🕵
The instrumental "Behind The Rain" by Herb Alpert, from the album "Rise", from 1979, also uses that chord progression, albeit in the key of C sharp minor rather than E minor, and is lively. No wonder on first hearing it, I thought it would have made a very good Bond theme.
"My Dark Disquiet" by Poets of the Fall has the Bond progression. On the same album it's featured on ("Ultraviolet"), you will find the song "False Kings" that is another very James Bondesque theme.
Michael Buble's rendition of Feeling Good is the best Bond song to never make it into a Bond-Movie. I could swear there was an intention as it feels they make several references in the composition and instrumentation
Great video, as always. :) It comes up a fair amount in videogames, like with these ones: Final Fantasy 6 - Decisive Battle Final Fantasy 8 - Fithos Lusec Wecos Vinosec Final Fantasy 9 - Vamo a Flamenco Fire Emblem series - Together We Ride I've used the chord progression multiple times in songs. I find it works best as an intro, in the verses, or in the bridge, because it feels like it's building to something that needs to come after it imho. Also, it's more versatile than one might think. The Final Fantasy 9 song Vamo a Flamenco shows what putting a happy song after the James Bond intro does. It surprisingly works, and it ultimately gives the song a very distinctive feel that's hard to pin down in words. :)
And Forested Temple too in FF7. Which uses the motif in Emin, then Amin, switches to a G/Dmaj version of it then back to Dmin before going back to Emin again. Very cool sequence. Nobuo is obviously a James Bond fan!
Another song that I think has a similar progression is "Say No to This" from Hamilton, it evokes the same feeling from the Bond theme, mysterious and unsettling
This progression is all over the place in Hamilton, most prominently "Stay Alive" and parts of "Right Hand Man". "Say No to This" is similar, but it keeps going up on the fourth chord.
3 iconic themes for me are: The James Bond Theme, The Mission Impossible Theme and The Pink Panther Theme. Is there any possibility of videos about the other 2 themes?
Perry's Theme from Phineas and Ferb uses this progression and separately part of the motif (but the harmonic rhythm is cut in half for the theme), but Perry is sort of the Bond of the show, so it absolutely makes sense if that's what they did! And if you look for the motif in "Perry's Theme," I don't think it's there. Instead, they use a quick half-motif when Perry either breaks in (if he isn't disguised) or when he removes his disguise (" *PERRY THE PLATYPUS* ?"
I only knew of the 'Secret Agent Man' that uses James Bond chord progression because it was so obvious, but I never knew ( perhaps didn't pay close attention to it ) that there's been others that did it as well. So cool to know..
Bad Religion's Chronophobia also uses that progression in the verse and chorus. Instantly came to mind when listening to the progression for the first time.
Frank Sinatra's version of the song "Strangers in the Night" seems to have a Bond progression at the end of the first verse. "...We'd be sharing love before the night is through. Gm Gm + 5, Gm6, Gm + 5..."
I think Paul McCartney also worked the progression into Live And Let Die in the pre-chorus bit since obviously it's for a Bond film. On a side note, not sure why the Elvis arrangement of Surrender sounds like the Batman TV theme to me, which also alludes to the Bond progression in a way.
Al Stewart has a song, "Angel of Mercy" that uses it. Al used to do a funny bit about always wanting to write a song using the Bond theme chords when he would play it live.
Back in the day(1966), 'Secret Agent Man' was a required song to be played. My band, The Beau Street Runners, Franconia, Virginia, played it twice a night because everyone at the local community pool party could dance to it. Easy changes and you could play several choruses of lead guitar too.
TIL I will love literally any song with this chord progression EDIT: oh god, that literally is literal. This is what I’ve been trying to describe to people what I like, but never knew any vocabulary for
hey david, great video, didn't expect to see this used in so many songs. i wonder if you could make a video about the hungarian minor scale? it's fairly distinctive and has a lot of interesting things to talk about; would love it if you did!
@@DavidBennettPiano Yes please! It's very charming and has a bit of spice to it that's hard to put your finger on. Would love to hear your tear-down... and improvisation at the end of the video!
The raw material for Barry's tune and arrangement - in the horns at least - has got to be Artie Shaw's "Nightmare" (1938). The electric guitar part is a nice, slinky swinging 60s add-on, though.
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📌Another Bond theme that quotes the motif that I forgot to mention is Shirley Bassey's "Goldfinger" which makes use of the Bond motif near the end of the song and this was actually the year before Tom Jones' "Thunderball". Thanks to the commenters who drew my attention to that example 😊😊
Man ,you just forgot the reference track used by John Barry to compose his theme ...Julie London - Cry me a river !!!!
Loved Goldfinger, So Iconic and memorable. Sean Connery was the one. The others were good, but no Sean.
Are you sure Paul doesn't put it somewhere in Live and Let Die?
Tomorrow Never Dies sneaks the first three chords of the progression in at the end of the chorus ;)
I am not a musician, but it seems like the chord progression is similar but sped up for “Wipeout”.
stealth announcing you've been selected to compose the new james bond theme, are we
Live and Let Die has hints of the motif. Right before the orchestra part when paul McCartney sings “live and let die” it goes from G7 - C/G - Gdim7 which contain the notes B-C-C#
I can definitely hear the James Bond sound in that part
Well it WAS a Bond film song!
Wrong order. The bit on "live & let die" lyric is G - C/G - Gdim - G7. The song has "danger feel" but it comes from odd interjection of minor & diminished chords, or oddball chords like D7flat9 (a D7 with a dissonant D# note on top, or maybe it's F# dim over a D). Leave it to Paul to do his own thing - and well.
Paul also used the same Em - C/E - C#°/E in the song Another Day, in the middle section.
@@loseryoutube6132 Shoot I KNEW Paul had used the Bond move with the Augmented chord - somewhere. Thanks for identifying it. A bit surprising, maybe, that David's search tool didn't catch it?
l think the 2nd chord is G C# E
I've tried writing 'Spy' music as it were, and it's so difficult to find something that evokes the same feeling of Bond without actually using the same chords from his theme. Everything about those four chords exemplifies who the character is - mysterious, dangerous, suspenseful, suspicious, etc. It many ways it cannot be topped as a spy theme. The only thing that kinda comes close is the Mission Impossible theme, but that has always felt a little more 'fun and adventure' like. Bond's theme has always felt more gritty and dangerous.
Focus on Phrygian, and do the line cliche in the bass notes instead of the upper notes (or both at once in power chords).
I feel like you need to incorporate some surf guitar and/or slap bass, and have some sliding, orchestral sounding strings...
The guitar piece from “Is There Anybody Out There?” from Pink Floyd’s “The Wall” is another great example of where this chord progression is used! I believe the chords use different inversions of those in the original Bond progression, with the Bond progression being Am, F/A, F#dim/A, F/A, and the progression from “Is There Anybody Out There?” being Am/E, Fmaj7, F#m7b5, Fmaj7. They’re basically the exact same notes, just inverted. This is the first song I thought of when I heard this chord progression, and I definitely recommend listening to it again for the sound of the Bond progression!
I was looking for such a comment, glad it didn't take long to find :)
Empty spaces also has it
haha, so was I!!!!! glad someone mentioned this i think about it every time i listen to the wall @@roman.korpachyov
@@danielbu1631I don’t think “Empty Spaces” quite uses the Bond progression, although the motion of the notes within the chords is very similar, starting on a note, moving up to a close by note, moving up to another close by note, and back down. I can definitely see where you’re coming from! This seems to be a motif that appears throughout “The Wall”, most notably in the “Another Brick in the Wall” trilogy. It can also be heard at the end of “Hey You” and “Waiting for the Worms”.
Wow I thought this was familiar from there! That makes sense now, thanks
I just imagine how amazing the music is, that anyone can use an epic progression to any song
And this progression is apparently forever for my life
wat
It might be worth mentioning that several early Bond songs were written in G major. This seems to facilitate the transition between the title song and the Bond theme (in Em) for the film scoring.
"Hangar 18" by Megadeth is an awesome example for packaging this chord progression into styles you would not expect
my first thought
That part makes me think of Led Zeppelin Kashmir. At least when I first heard, as teenager in "the Call of Ktulu" by Metallica, where Dave originally used this sam riff. Later Dave simply re-used it in "Hangar 18" So it's originally "the Call of Kthulu" riff.
Listen to Kashmir, check out the resemblance. It sounds way more inspired by Kashmir then it does to the James Bond theme.
Also, In my darkest hour and a billion other megadeth songs
Panic Attack by Dream Theater does this sorta thing too....there's tons of other examples in more niche metal bands that I can't think of right now....but never deny the coolness/impact of a chromatic line, ascending or descending
The verse of Goldeneye uses this chord progression to back Tina Turner’s vocals. Still one of my all-time favourites, although some of the more recent themes are not far behind.
I agree. You can hear it very clear at the beginning of the second verse of the song :)
I love the Bond Themes that include the semi-tone motive. Sheryl Crowe's & Adele's are two of my favourite most recent ones. Bond Themes are an art form on their own.
That motif was used way back in old big band arrangement from the 40s (which I believe is where Barry first heard it). Just another device to build motion into a static minor chord change.
Definitely! It is an iconic part of the Latin staple Brazil.
That first Chord Really gives me the EBGBs.
The theme for Flying Battery zone from Sonic 3 and Knuckles uses this chord progression
It's also used in the track from Rayman Legends "The spy who kicked me"
I've been trying to gather songs with this progression for ages without understanding which chords were used, thank you so much for covering it!
I think your improv at the end sounded better than most of the modern Bond themes personally
Synchronicity II by The Police has the Bond motiff in the first part of prechorus and using the inversions instead of i-bVI-IV in root position.
Bond and a first of October shirt. Can’t get any better!
Incredible analysis on one of the Greatest Movie Themes of all Time
I love this progression
And despite whatever I love these chord progression videos 😊❤❤😊😊😊🎉🎉🎉
And I love you, Tyler.
It would sound cool in a hard bop tune
It's gotta be either my favorite or my second favorite of all time.
Finally I found someone who explained me what's that Bond"ish" sound that I always hear in those musics! Thank you!!!
This progression appears in the old James Bond's song Goldfinger by Shirley Bassey, too. Like in Tom Jones's, the theme is touched here and there but in the finale is repeated many times to a climax.
Thank you for this interesting video!
"Birdhouse in your soul" by "They might be giants" uses a similar chord progression leading up to the chorus and in the instrumental breakdown.
also the beginning of "Youth Culture Killed My Dog"
The melody plays a chromatic scale but I'm not sure the chord progression has any similarities beyond that.
Imagine making such an iconic chord progression to the point you literally monopolize it, making any song that uses such chord progression instantly reminds anyone of your song 👁👄👁
In the chorus of Mis-shapes by Pulp, they use the Bond chords and sing the line “we won’t use bombs” which I used to hear as “we want James Bond.”
Thanks for the video!
Here are some more songs where I think the James Bond theme is recognizable:
Madonna - Deeper And Deeper (around 2:56-3:28)
Robert Miles - Landscape
Depeche Mode - It's No Good (around 3:00)
US5 - The Boys Are Back (around the bridge)
Ovidiu Anton - Moment Of Silence (around the beginning of 2nd verse)
Eneda Tarifa - Fairytale
[almost: Liza Minnelli - Losing My Mind]
How about Underwater Love by Smoke City?
José Afonso - Redondo Vocábulo
Sorry Angel by Serge Gainsbourg did it as well
Not exactly but quite. Fourth chord is different, isn't it?
There’s a lovely Italian song (actually a rewriting of an obscure American pop song) made famous by Mina Mazzini, called “Città vuota”, which does that progression in the context of the I and ii chords. In A: A - F+/A - A6 - F+/A, Bm - G/B - Bm6 - G/B.
There's a riff in Opeth's song Bleak (comes right after the acoustic section halfway through the song) that uses that same motion, same inversions with the E in the bass, but instead of G being the other note shared between the chords, in this riff it's F#
The comment I was looking for!
Great job as always.
Supremacy from Muse's The 2nd law album is clearly an hommage to the James Bond theme. We found the progression and even the James Bond chord Em Major 9 at the end of the song.
Came here to say this. Supremacy almost seems purpose-written as a Bond theme! I've seen some people edit James Bond opening sequences to it, and it really works.
+
Actually, Muse did put forward Supremacy to be used in Skyfall, instead of Adele’s theme, but was rejected. The band released it on their next album The Second Law anyway as they’d already written and recorded it
@@robertgodsellSkyfall is a surprisingly good theme and well executed. But Supremacy is... supreme. :)
This progression is just one more reason why I love the Bond films, it just adds that level of mystique and I love it and it still reminds me of a guitar riff that I wrote that took some influence from the Bond chords
One of my favourite uses of this progression when is the The Guess Who uses it in the bridge of their song “Undun”
It’s the third time in a couple of months that I am thinking of a progression and the exact same day you post a video about that chord progression!! Wizardry?! 🧙🏻♂️
I can't believe nobody mentioned 'The Court of the Crimson King' by King Crimson, they use the same cliché (though not exactly the same chord progression at the beginning, the Em) and then again with the 4th, starting at Am. This and 'Is There Anybody Out There?' by Pink Floyd are the first examples that came to my mind.
Great solo at the end here, David.
And great lesson.
What's so weird is that you put this video out today when I've been listening to James Bond themes this morning after hearing A View from a Kill by Duran Duran earlier. *mind blown*
Seeing David in a First of October shirt is something i NEVER EVER thought i was gonna see!!
Dido - Thank You (and it's not so bad, it's not so bad..)
Guess Who - Undun (too many mountains and not enough stairs to climb..)
The The - Love is Stronger Than Death (In this world even winter ain't what it seems)
French singer/actor Serge Gainsbourg had a song in 1960 called "L'eau à la bouche" that has a similar progression, 60s vibe AND electric guitar twang! Strangely, John Barry and Gainsbourg were both romantically linked with actress Jane Birkin who is also known for her duet with Serge "Je t'aime... moi non plus".
Also the first track of his first LP - "Le Poinçonneur des Lilas"
The Goldfinger song, released before Thunderball, clearly includes a nod to the James Bond Theme
My favourite example is Brian Wilson by Barenaked Ladies. It's such a contrast to the sweet opening and really captures the sense of rising anxiety in that song.
Wow I loved that song from my few months of life in Canada and had never spotted that it included this too :)
I thought of that one, too
That outro jam is so fun to play.
Personally, this chord progression must be on my top 5 favorites
Muse's Supremacy was also written to be a Bond song but it didn't get picked in the end. Still a banger song, really cool metal/western vibes
That song is epic
I didn't know that! Cool!
Someone on TH-cam made a video of bond clips set to Supremacy. It would have been perfect.
Glad someone said this.
Muse have written like 4 of the best Bond songs of all time and still they get snubbed.
There's also "Hey Bulldog" by the Beatles, which uses the same semitone climb
@@Luke5100did he talk about Savoy Truffle? I haven't watched the full video yet, but that instantly comes to mind
I was waiting for it to come out in this video
The acoustic guitar section of Pink Floyd's "Is There Anybody Out There?"
Think so... how about Stairway to Heaven & Cry Me a River?
Exactly what I thought
Everytime you post any chord progression videos I try to figure out songs on my own as a fun exercise before going forward with the examples, and this time I was thinking on Akira Yamaoka's Promise, so happy to see you included it!
I just call it "the ascending line cliche that gives up," although usually in major it would make it's way up to the 7th for a V7/IV. Nice study David!
Both 'you know my name' and 'skyfall' are some of the better songs often repeated on the radio here. Did not know they were made for Bond, rather neat!
One chord progression that is very similar to this one is the I I+ I6 I+ or I I+ vi I+ chord progression! It combines the augmented climb progression’s major-ness with the same chromatic movement of the James Bond progression, making a chord progression that feels somewhat unresolved and bittersweet (at least to my ears). It’s a great chord progression to look into if you’d like! Some songs I know with this chord progression include:
Impossible Year - Panic! At The Disco
Greatest Love of All - Whitney Houston
Notion - The Rare Occasions
Underground - Ben Folds Five
I Got Love - Mother Mother
Stay Behind - Mother Mother
Ryne’s Song - Ashe
Off She Goes - Bad Suns
Christmas Kids - Roar
There Is A Sound - The Handsome Family
I see nobody's yet commented about your nod to the Doctor Who soundtrack but I would LOVE it if you'd dedicate an entire video to it, I think Murray Gold did some amazing work for that soundtrack and some of the tracks are incredible pieces of music in their own right.
Yeah, out of all your chord progression videos I've watched, I think this is by far the most distinctive. Even with all the variations, and including songs that weren't theme songs from bond movies, there is no way to avoid thinking of James Bond when you hear it. With others, some songs have enough differences in melody, instruments, etc., that I wouldn't easily recognize that they use the same progression. These examples are all unmistakeable to me.
I've always found 'is there anybody out there' by pink Floyd to always sound very bond like
For years i was convinced it was the James Bond theme in the background on Blackberry Way. And now you've confirmed it.
Nina Simone’s “Feeling Good” has this as a refrain between sections of the music. As far as I can tell without playing through the music to check. At the end of the second verse.
But it certainly sounds similar. And the verse also has the descending minor bass line cliche.
But there is a simple explanation. The song was originally written by Anthony Newley and Leslie Bricusse.
Who also wrote the lyrics to “Goldfinger”.
I am not sure of the exact sequence of the original song, Simone’s recording and the release of the film, but they were all around the same period.
And Bricusse also wrote the lyrics to “You Only Live Twice”
This is my favorite channel for music theory - puts together very practical musical knowledge with great breakdowns and examples.
I’m wondering if there’s more content to be had talking about intervals and two chord sequences. The existing videos cover that already, but usually in passing. For example, today’s progression starts with vi IV (or i VI) sequence,which is worth its own video imo with examples of other progressions that include it. There would be no Iron Maiden without i VI. Another worth talking about would be i III, there’d be no Linkin Park without that.
Could go even further and just break down intervals the same way. Again, I know that content already exists on this channel, but it’s less common to see theory presented in the bottom-up order, starting with one basic interval and evolving from there.
Not a big James Bond fan, but I do love how the theme can be adapted to be any combination of epic, haunting, or mysterious. I may be showing my colours here, but I'd love for David to look at the music theory behind the Doctor Who theme (a franchise of which I *am* a big fan).
Le poinçonneur des lilas is the first song that made Serge Gainsbourg famous in France. It was released in 1958, 4 years prior to the first James Bond and is based on the same chromatism.
This progression is in my favorite song, The Phoenix by Fall Out Boy. I love this chord progression. It goes very well with the melody of The Phoenix and harmonizes beautifully with the words "remix" and "phoenix". It has probably got to be my favorite of all time. I feel blessed to have this video and this progression.
I personally use the i, bVI, IV7 in some variation. Just love the modulation from natural minor to Dorian mode, great for some simple but satisfying melodies
"25" by the Pretty Reckless is a fantastic rock song based very heavily on this progression, and I'm slightly stunned game music was discussed without mention of the Succession of Witches motif permeating a huge portion of the Final Fantasy 8 soundtrack!
If you're looking at video game music, The Phantom Forest from Final Fantasy 6 also uses this chord progression of create that tense haunted sound.
The boss theme uses it as well. 👍
And Forested Temple in FF7!
Used in Descent I level 20 and Doom II level 1 to some extent
A simple progression yet so effective. Enjoyable segment, as always, David. Thank you!
A very similar progression is used in Gordon Lightfoot's classic "Black Day in July" (1968). I learned a lot from Lightfoot songbooks as a kid when I was learning guitar and those chords (which were labelled Em, EmaddC, and EmaddC#) instantly put me in mind of the Bond theme. I guess it's a great progression to add tension.
Gordon Lightfoot also has another song called "Don't Beat Me Down" that has a reverse "Bond" progression: Em(7) - A - C - Em, capo 3rd fret
@@OurgasmComrade Yes, another great song to sing and play.
Serge Gainsbourg used the progression as early as 1958 in his "Poinconneur des Lilas". Arthur Brown's "Child Of My Kingdom" also uses the progression, as does Tom Robinson's "Glad To Be Gay". (This latter song also uses the familiar minor-chord line cliche with a chromatically falling bass.)
Hi i just wanted to say thanks for your videos i watch your vidoes about modes all the time because they are one of my favourite musical concepts and i just love the format of your videos and how informative they are and theyre just great so thank you for making them
FANTASTIC video, David. However, you mentioned that Thunderball was the first Bond movie to include the JB motif within its opening movie theme. Actually, both From Russia With Love and Goldfinger incorporated this progression within their theme songs as well. (And if you want to get really picky about this, the very first Bond movie (Doctor No) also included it . . . . since its opening movie theme WAS the James Bond Theme.)
Hello from Koreatown near downtown Los Angeles. Thank you David Bennett. I didn't realize that Chris Cornell (RIH) of Soundgarden contributed to the James Bond theme
Blondie’s ‘Last Contact in Red Square’ briefly uses this in the intro to evoke a ‘spy feel’. And in terms of video games, both the ‘Mini Boss’ theme and ‘Flying Battery Zone’ from Sonic & Knuckles use this motif as well!
I believe Mis-shapes by Pulp also uses the chord progression briefly at the end of the chorus.
"We won't use guns, we won't use bombs, we'll use the one thing we've got more of and that's our minds."
....yeah!😛
I don't know if the original Aquarela do Brasi from 1939 contains the chord progression (there are so many recordings and interpretations) but the reworking of it for the theme to Terry Gilliam's Brazil (which was named for the song) in 1985, by Kate Bush and Michael Kamen, certainly does. Life In Dark Water by Al Stewart also has this as a motif. I think we have to assume everything after 1962 that uses this progression does so deliberately 🕵
What about Kim Wilde's "Kids in America" finale?
Fits well into the pattern.
I found more examples.
The instrumental "Behind The Rain" by Herb Alpert, from the album "Rise", from 1979, also uses that chord progression, albeit in the key of C sharp minor rather than E minor, and is lively. No wonder on first hearing it, I thought it would have made a very good Bond theme.
"My Dark Disquiet" by Poets of the Fall has the Bond progression. On the same album it's featured on ("Ultraviolet"), you will find the song "False Kings" that is another very James Bondesque theme.
I bet no one knows this one: "Redondo Vocábulo" by the portuguese folk singer José Afonso. Beautiful melody! I recommend it highly.
th-cam.com/video/aEfH006yDeo/w-d-xo.html
Michael Buble's rendition of Feeling Good is the best Bond song to never make it into a Bond-Movie. I could swear there was an intention as it feels they make several references in the composition and instrumentation
Battle Theme #4 from the game "Yu-Gi-Oh! Master Duel" uses this chord progression as well at one point in the track
Goldfinger used the chord progression before Thunderball did. It was also incorporated in at least GoldenEye and The World Is Not Enough.
Great video, as always. :)
It comes up a fair amount in videogames, like with these ones:
Final Fantasy 6 - Decisive Battle
Final Fantasy 8 - Fithos Lusec Wecos Vinosec
Final Fantasy 9 - Vamo a Flamenco
Fire Emblem series - Together We Ride
I've used the chord progression multiple times in songs. I find it works best as an intro, in the verses, or in the bridge, because it feels like it's building to something that needs to come after it imho.
Also, it's more versatile than one might think. The Final Fantasy 9 song Vamo a Flamenco shows what putting a happy song after the James Bond intro does. It surprisingly works, and it ultimately gives the song a very distinctive feel that's hard to pin down in words. :)
And Forested Temple too in FF7. Which uses the motif in Emin, then Amin, switches to a G/Dmaj version of it then back to Dmin before going back to Emin again. Very cool sequence. Nobuo is obviously a James Bond fan!
the James Bond chord progression is also heard in The Stranglers song: "Too Precious" from the album "Dreamtime" from 1986.
Another song that I think has a similar progression is "Say No to This" from Hamilton, it evokes the same feeling from the Bond theme, mysterious and unsettling
This progression is all over the place in Hamilton, most prominently "Stay Alive" and parts of "Right Hand Man".
"Say No to This" is similar, but it keeps going up on the fourth chord.
I absolutely love the little impros you play au the end!
Thanks!
@@DavidBennettPiano you‘re welcome!
I‘m impressed by your work.
I currently try myself to improve in improvisation and songwriting.
3 iconic themes for me are: The James Bond Theme, The Mission Impossible Theme and The Pink Panther Theme.
Is there any possibility of videos about the other 2 themes?
I’d vote for that.
Love your playing at the end of the video!
Thank you!
Practicing scales and cadences in Eb, you might find yourself playing this tune, and you might be startled by your discovery. It's so cool.
Perry's Theme from Phineas and Ferb uses this progression and separately part of the motif (but the harmonic rhythm is cut in half for the theme), but Perry is sort of the Bond of the show, so it absolutely makes sense if that's what they did!
And if you look for the motif in "Perry's Theme," I don't think it's there. Instead, they use a quick half-motif when Perry either breaks in (if he isn't disguised) or when he removes his disguise (" *PERRY THE PLATYPUS* ?"
I only knew of the 'Secret Agent Man' that uses James Bond chord progression because it was so obvious, but I never knew ( perhaps didn't pay close attention to it ) that there's been others that did it as well. So cool to know..
Beautiful outro David. Love it!
David, your work and teaching are quite wonderful. I am learning so much and I am applying it to my guitar journey Thx
“Inkwell Hell” from the game Cuphead uses this chord progression
Bad Religion's Chronophobia also uses that progression in the verse and chorus. Instantly came to mind when listening to the progression for the first time.
I'm surprised you didn't mention "cry me a river".
And Georgia on my mind" uses this progression too for a short while
You mentioning Silent Hill made me so happy. One of my favorite Video game tracks.
Frank Sinatra's version of the song "Strangers in the Night" seems to have a Bond progression at the end of the first verse.
"...We'd be sharing love before the night is through. Gm Gm + 5, Gm6, Gm + 5..."
I think Paul McCartney also worked the progression into Live And Let Die in the pre-chorus bit since obviously it's for a Bond film. On a side note, not sure why the Elvis arrangement of Surrender sounds like the Batman TV theme to me, which also alludes to the Bond progression in a way.
Al Stewart has a song, "Angel of Mercy" that uses it. Al used to do a funny bit about always wanting to write a song using the Bond theme chords when he would play it live.
Back in the day(1966), 'Secret Agent Man' was a required song to be played. My band, The Beau Street Runners, Franconia, Virginia, played it twice a night because everyone at the local community pool party could dance to it. Easy changes and you could play several choruses of lead guitar too.
TIL I will love literally any song with this chord progression
EDIT: oh god, that literally is literal. This is what I’ve been trying to describe to people what I like, but never knew any vocabulary for
The original is from the song Le poinçonneur des Lilas - Gainsbourg, 1958. Watch the live cover of les doigts de l'homme, absolutely astonishing
Your composition at the end of this is one of your best in these videos.
hey david, great video, didn't expect to see this used in so many songs. i wonder if you could make a video about the hungarian minor scale? it's fairly distinctive and has a lot of interesting things to talk about; would love it if you did!
Thanks! I've been thinking about making a video about Hungarian minor actually! It's certainly on the list :)
@@DavidBennettPiano Yes please! It's very charming and has a bit of spice to it that's hard to put your finger on. Would love to hear your tear-down... and improvisation at the end of the video!
Based double harmonic appreciator
The raw material for Barry's tune and arrangement - in the horns at least - has got to be Artie Shaw's "Nightmare" (1938). The electric guitar part is a nice, slinky swinging 60s add-on, though.
Nice blues riffing at the end there! I dug it.
Stravinskys „Firebird“ from 1910 uses that chord loop at some point. It‘s the earliest usage of the progression I know of