Quote:
Originally Posted by Jbrochu
Another kinda sorta theory question for you...
I'm learning Creep by Radiohead in order to practice my E shaped barre chords, so I decided to look at the theory stuff I've been reviewing and it doesn't make sense. Song keeps resolving to G major, so I think it's in G. But the progression goes G major, B major, C major, C minor.
If I did my theory worksheet properly G major key should go:
G maj
A min
B min
C maj
D maj
E min
F# dim
So the B major and the C minor chords in the progression don't make sense if it's in the key of G major. Thoughts?
Fun fact:
this shares same chord progression as Creep.
You can hear that the Gmaj is the tonic chord by how settled it is, that's definitely the key. The B major can be considered a chromatic mediant in the key of G, the Cmin is really just a borrowed iv chord from the related Gmin scale (instead of the IV)...more than you need to think about atm.
For now just understand chord progressions don't have to be completely made up using notes natural to the key you're in to be correct. You could say those are the safest chords & notes to work with, sort of like sticking to the basic 8-pack of Crayola crayons. Lots you can do with that but obv you want a little more spice than that.
The IV-to-iv (4 major chord followed by minor) thing is kind of neat, I've always like the sound of it, abrupt and darkens everything immediately but still fits and doesn't offend the everyday ear. Bowie used to do that sometimes which I think is where I first recognized it, but I've heard it in lots of things from Shadow's surf music to Rammstein. Tesla does it in Love Song. The Beatles do it in In My Life and others and I'm sure Radiohead has too in other places. It leads back to the root chord really well.
The Gmaj to Bmaj isn't that uncommon, but (in rock) it's typically at the end of a progression when you're on a Gmaj chord and looking to resolve back to Emin. You shove that B in between it sounds pretty big and fills the space. Also check out Moonage Daydream by Bowie.
These are things that I think a lot of young talented songwriters discovered by accident, just fumbling around for the next chord in the song until they found one that worked. Beatles, Bowie, Radiohead...maybe they were serious theory nerds but I doubt it. Probably trial and error, and I remember Paul McCartney saying something to the effect of "all Beatles songs have wrong chords in them somewhere."