That song is indeed catchy. I'm not sure what the other chord progressions are, I know one of them is the one that Weezer uses for Pork and Beans. That's the one I can always recognize immediately in a song. IT'S TOO EASY TO USE.
I only took one music theory class and I've all but forgotten everything. If I recognize a chord progression, it's just from hearing it, but I couldn't write out what it is. I describe the one from Pork and Beans as a T-shaped chord progression because if you play it on a guitar with power chords, the movement of your hand generally makes a big T.
I don't think Katy Perry is very talented, no, but that song is catchy anyway. Also, she apparently does like her some Winehouse, but I don't really see a similarity, except maybe sort of their vocal stylings. Other than that she's doing some poppy rockish nonsense whereas Winehouse is pretending she's a fat black soul singing woman from the 70s. I definitely dislike her more, though I'm not rushing out to buy the albums of either.
What does annoy me is people either getting offended or trying to analyze the hell out of I Kissed a Girl, as though it's got some big ideas about sexuality or something. All it's doing is commenting on the trend of lipstick lesbianism. It's hardly profound, it's just striking while the iron is hot. I mean, she doesn't even have the balls to actually kiss a girl in the video. OR MAYBE THAT IS HER PLAN TO DEFY MY EXPECTATIONS BY WITHHOLDING THE LESBIAN LOVE FROM ME. Oh, but now I am anaylzing her as well...
Well, at the very least, Katy's easily more attractive than Winehouse.
Haha, yeah nah I don't even know what the chord progression is...but that's the very simple in-every-standard-rock-and-pop-tune chord progression.
I haven't really listened to the song very much, just annoying bouts of it on the radio...I find it irritating but it does get stuck in your head. For a while I'd just have the song in my head until I knew the lyrics, and then it got more annoying to me.
I haven't listened to Winehouse either...intentionally anyway, I may have heard things on the radio without even realizing. The modern pop scene isn't really my fach, so I don't rush out to listen to any of it. If I'm mildly interested I might look it up on youtube, but I likely won't.
And jeez Joe....no need to raise your voice at me.
Joined: 31 May 2007
Location: YOUR BUTT HAHAAHAHAL OLOL
You had it in minor key? No wonder it was a 91%! Kidding =P.
Let's see here... According to the "rules" of composition, that iv7 wasn't allowed to go to the VII7 chord, and nor was that vii* allowed to go to the V.
Srsly, though, I played your progression (with me guessing the notes, of course), and I thought it was pretty neat. You never specified a key, though, so I picked good ol' CM. Personally, I have no qualms with it, and I hate the freakin' rules myself, so I liked it, but yeah. Fun times.
As for the topic of the freakin' topic; I have never ever heard this song you are referring too, but from what I'm hearing, I'd probably hate it.
EDIT: Heard it, hate it, can't even catch on to it. It sounds to me more like... i - iii - iv - i, but I suck at music theory. I also just started music theory, so I haven't even learned all that fancy stuff. Only stupid composition rules. Bleh.
It's exceptionally simple. As someone who has forgotten all of the technical stuff, all I can vaguely say is that it pretty much goes up the scale and back down to the first chord. So based on that I'd say Ookook is close to right though maybe missing a step or two.
Haha yeah, it was in B minor, I wrote it in a SATB choral arrangement with piano accompaniment.
Ah yes, and the chord progression...a little more complicated than what you learn in first year theory.
I had a sequence in there, iv7 - VII7 - III7 - VI7 - ii*7 - V7 - i. That is just an "up a fourth, down a fifth" bass sequence (iv is E, moving down to an A, up to a D, down to a G, up to a C#, down to an F#, back to B) and it turns out sounding pretty cool. It's just a way of going through a lot of different key areas before getting back to the tonic, and it has a pretty neat effect. All of those seventh chords add nice colour and a bit of dissonance to the work, so it's just a way of making things a bit more interesting.
The vii*7 in third inversion is actually a borrowed chord from V (in this case, from F# Major) which resolves to V, so really it's like a brief cadence in F# Major, moving directly to a perfect authentic cadence in b minor. This is called a secondary dominant, I did it earlier in the piece with the V9 (C#-E#-G#-B-D#) of V (F# Major) going to V (F# major chord in b minor). You can actually do it on any key area, but the dominant is the most common. Again, just something to add a bit of interest to the music, to make it not such a standard rock/pop/blues progression...it's a little jazzier, but also used in Baroque chorale part writing.
The more you learn about music theory, the more possibilities you have, and the more you can go away from the 400 year old composition rules! I never knew how rewarding it would be to write my own piece until I actually did it! If you ever have any questions with your theory, I'd love to help you out...I'm a bit of a theory geek
Joined: 31 May 2007
Location: YOUR BUTT HAHAAHAHAL OLOL
Mm, like I said, rules are lame.
Music Theory just sort of came naturally to me, I never actually learned it, but I seemed to know it intrinsically, so this class I'm taking is just sort of breezing by.
I sort of just composed things that sounded right to my ear, and voila! It's all good, really, and until I actually take in this concept of music theory, will I probably get over this composition-block I'm having. Although it DID help me somewhat. I'm sort of stuck in the transitional phase in between taking in what I'm learning and assimilating it to what I already knew.
I feel like I'm talking about some kind of therapy.
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