#1
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Key/Mode
Hi everyone,
This is a theory question only. I've been playing a song that's nominally in the key of F (or Dm, but doesn't really sound like a minor key song to me). The chord progression is pretty consistent throughout the song: IV ii vi V and ends on IV. I'm struggling to "put a name" on what's going on. Would this be F Lydian? This is the song https://www.youtube.com/watch?v=GxIj_0VKhg4 Basically, I'm playing the acoustic part capo 5 and playing these shapes: Fsus2maj7 Dm Am C Over and over, and end on the Fsus2maj7 (at least that's what I think it's called X33020 relative to the capo) Thanks for any insight, John |
#2
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So, the basic chords are Bb, G minor, D minor, A minor. At least as I'm hearing them. The A is strong in the bass on the last chord.
The tune ends on that Bb chord, but I don't hear it resolve there. Only satisfying resolution to my ear is on D minor. So I'd say it's pretty squarely in D minor. If I wanted to noodle a solo over it, D minor would certainly be my choice. I hear this a lot in modern pop music...I call them "suspended progressions," no real tension or resolution, and they often end on a chord that is not where you ear would expect. Can be very boring. This tune is an exception to many of those, as it has actual energy and is pretty tolerable, if not a minute too long |
#3
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Quote:
rct |
#4
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I don't hear the song as starting on the "IV" chord at all...
Sounds like Imaj - VImin - IIImin - V to me... using a suspended or "hybrid-type" chord for the I chord is a fairly standard harmonic device for songwriting... You don't need to make this stuff harder than it actually is! In my mind, the ONLY real reason to think about modes is if I am playing a "lead line" over the changes... and to assist in comping to the existing changes. It "feels" like the song is in Bb to me...
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#5
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Interesting.
Do you hear that last chord as V or v? Because I sure hear Am. |
#6
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I agree this is one of those unresolving loops.
Personally I hear the key quite strongly as F - even thought there is no F chord - because of how the melody works, and where it resolves to. The Dm is the chord that sounds strongest as key chord to me, but that's probably because of my familiarity with key-based music. The F focus of the melody is what pulls away from that. Of course they choose to finish on Bb, which might suggest they feel that is the key - unless they just want (or were happy with) an unfinished sound, which is quite possible.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. |
#7
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Thanks, everybody for your insight. Interesting observations all around.
The people who wrote the song call it Dm: https://jesusculture.com/tracks/let-...ord-charts.pdf That chord that Mr. Beaumont hears as Am is actually F/A according to that chord chart I've watched some of the playing, and there seems to be some suspension and major 7th tones on the two major chords. I did play this along with an electric lead player, and he did struggle a bit to noodle over the top, for 2 reasons - one was all of those maj7 and sus2 made it hard for him to hear the chords. Once I stopped doing that, it became better. He also ended up going to Dm for the lead stuff, i believe. This wasn't a song I particularly liked the first few times I listened to it/practiced it, but it's grown on me. With the right crowd, it's a lot of fun. |
#8
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Key of F major
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#9
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F Major pentatonic licks work pretty well over the whole thing
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