Song Analysis - Chords, Part 2
Lesson 27 from: Music Theory for Electronic ProducersTomas George
Song Analysis - Chords, Part 2
Lesson 27 from: Music Theory for Electronic ProducersTomas George
Lesson Info
27. Song Analysis - Chords, Part 2
Lessons
Introduction
00:58 2Basic Music Theory Terms
08:07 3Keyboard Layout and Octaves
06:19 4Working out Major Scales
08:58 5Perfect 5ths
06:42 63rds - Part 1
08:05 73rds - Part 2
07:39 8Perfect 4ths
04:36Chords and Inversions - Part 1
10:05 10Chords and Inversions - Part 2
09:13 11Chord Progressions - Part 1
10:22 12Chord Progressions - Part 2
08:26 13Inversions
08:53 147th Chords
09:48 15Chord Extensions
08:09 16Suspended Chords
02:40 17The Circle of 5ths
04:30 18Minor Scales
08:09 19Chords in the Natural Minor scale
09:56 20Harmonic and Melodic Minor
09:30 21Write the Chords, then the Melody
09:03 22Write the Melody, then the Chords
18:01 23Arpeggios
08:00 24Writing Bass Parts
11:35 25Writing Bass Riffs and Adapting Melodies
14:10 26Song Analysis - Chords, Part 1
10:17 27Song Analysis - Chords, Part 2
05:58 28Song Analysis - Melody
08:55 29Song Analysis - Arrangement
07:30 30Song 2 Analysis - Arrangement
05:04 31Song 2 Analysis - Chords
08:55 32Song 2 Analysis - Melodies
06:34 33Song 3 Analysis - Chords
11:41 34Song 3 Analysis - Melodies and Arrangement
06:55 35Create a Song from a Drum Beat - Part 1
10:22 36Create a Song from a Drum Beat - Part 2
18:47 37Create a Song from a Drum Beat - Part 3
18:49 38Create a Song from a Drum Beat - Part 4
08:21 39Create a Song from a Chord Progression - Part 1
08:16 40Create a Song from a Chord Progression - Part 2
08:07 41Create a Song from a Melody - Part 1
07:27 42Create a Song from a Melody - Part 2
09:05 43Modes Intro
04:10 44Ionian
00:43 45Dorian
04:31 46Phrygian
02:09 47Lydian
01:35 48Mixolydian
02:13 49Aeolian
00:39 50Locrian
01:50 51Dorian Mode Example
09:12 52Pentatonic Scales
12:27Lesson Info
Song Analysis - Chords, Part 2
The next section is this purple section. So let's just have a listen to this. You can hear it's a lot different. There's a few stranger chords in this. Let's have a look at the base actually, first of all, let's see what key it in for. Now, you can tell by looking at this. We are in a minor. I'd say this first call. I just realized it's actually a minor. SU T not a cos there isn't a C#. So there we go. Let's have a look at the B section. So in a minor, let's have a look at these chords, the base notes. So we have a, a, we have an F sharp, which is out of key. So we're changing keys here. So let's just write this in a, an F sharp. So this is uh a section. Now, let's have a look at the A one section. I'll call it cos it's quite similar, but it has a few different cords in a one section. The first note was, I think it was the same, it was a, a minor and the next one is nef sharp. OK. It's a bit more interesting though. And then it goes down one semitone, kind of breaks a few rules here to...
an f but it works. I think it works. Then the next note is G, so we've got some uh of uh dissonance here. It's going a bit out of key. I think this sounds interesting. It's up to you what you wanna do. But me personally, I like it when it sounds a bit more interesting. It's good to break the rules. It's good to try new things because if it's just up to the key, stick to the rules all the time, it's just gonna sound like everyone else. It's gonna sound a bit boring personally. But it's best to start with the rules and learn to break and expand and modulate and try new ideas. OK. So the first one was a, we all know it's an, a minor. We can tell it doesn't swap keys on the first chord. But let's have a look. So we have a E, an A and a B E A nine and a B. No problem before that. This, it's a sus two. This is the same chord as before. So I have a minor. So then the second one goes up to the D, so it's the same as before a minor. So it's four. This is the weird call. Let's have a listen to this again. The second one adds a bit more tension. I really like that chord. So it's f sharp. Let's work out what it is. So it's F sharp A C# F sharp A C#. So the second one is F sharp A C# OK. So one, 234. So it's a minor. 12345. Simply just F sharp, minor. I've got a bit of modulation going here. I like this. Then let's work out. The next one goes up to A Dean's to have a C# but then it goes back down to a C#. So we could call it a add six because we're playing both of them. We're playing the fifth and the sixth. So I would call this F sharp minor add six F shot Mor at six or we could just call it F sharp minus six, which kind of implies as the six as well. E one's fine. A 66 depends on what you're comfortable with. So we've got some quite interesting codes here. Let's have a look at this one. This goes to A F is F may just same as before the third chord. So we have an F because it goes F ac if we count up 123451234, that's a major called the root note is F, that's F major. And after this, it goes up to the D. So this is uh same as before, I believe fa six. Let's have a look at the cord before, before we added the six. Now we've replaced the six if you can see here. So let's call this one here. F minor add six. So we don't get too confused. There isn't really a exact rule for writing these six cord when you replace them, but it is kind of a F six. I would call that. So we've got some chromatism here. So we're just moving down semitone. I think this sounds really cool personally, which I wrote it, but I'm quite biased, but it depends what you want. If you want to sound a bit more unusual, a bit more tension, maybe have a look at changing the key, adding some chromatic notes. It doesn't have to always stay in key. You'll notice later on when we talk about the melody, the med, the melody actually adapts and changes to these changing chords. So the melody doesn't stay the same sounds similar, but it does weave with these chords also. OK. Now we have the last one. Cheers this G so start the base note was a G. So if we look down here, base notes, A G and we go up to this chord. So we have G day see same as before this G. So six, which basically means Sussex is a bit of a strange one. It means you play 1/6 note instead of the third and then I think it's the same as before. It goes down to this D and A B. So this is just a G. OK? So these are the chords. It's quite complicated. Really. You hear it, it just sounds like music a lot of the time. If you haven't trained your ear to music theory, let's have a listen back, then you realize you deconstruct the chord, you realize there's quite a lot of stuff going on. So the first section, we have the A minus plus two. So we play the second note instead of the third, a minus SU four. So we play the fourth note instead of the third GG Sus two. So we play the second note instead of the third FF add six. So we add on 1/6 note as well. G SU six bit of a weird one. So we play the sixth note instead of the third, then a gag major and the A one section, a minus SU two. So it's a minor chord, but play the second note instead of the third a behind the Sus four. So we play the fourth note instead of the third F sharp minor. So we've got a key change here. We've got a chord that doesn't fit in key. Then we have F minor add six. So we basically add the sixth note F so we're changing the key back again. F six. So this, we don't add the six. We play the sixth note. Let's have a look at this again. So here we're actually playing the sixth note instead of the fifth note, which is why it's called A F six. Then we have a G, so six. The weird one again, we play the sixth note, there's no third note, bit of a strange one and then back to G major or G. So this is the core progression that's used in this song. And this is how you deconstruct it, it's not the easiest thing. The basic thing to start with is write down the base note. Then once you've got the base note, write in the other notes and then try and get a pattern of say five and four, major four and five for minor four and four for diminished five and five for augmented. So different types of patterns, you might have to readjust them cos a lot of the time when people write music and they arrange the music, they create different inversions. So it's not always in the right order. So don't be afraid to have a look at these notes and flip them around a bit and then you can kind of work out generally what's going on. This is quite a complex chord progression. Really? A lot of, a lot of songs just have really simple ones like C the minor G. But this one's a little bit more complicated. There's a bit more going on, but I thought it would be an interesting one to show you cos it's a bit more interesting and it's one of my songs as well. So I'm a bit more biased. Um But I personally prefer this kind of chord sequences. Chord pattern just sounds a bit more interesting than just regular of 25 ones. This should add a bit more flavor, color and character to your music. So thank you for watching this first section, this first lecture of this deconstructing section. Next, we're going to have a look at the melodies used in this track.
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