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Iz 3-6-5-6-4 chord progression usual? Studio Headphones
Old 8th January 2016
  #1
Gear Head
 

Iz 3-6-5-6-4 chord progression usual?



Here, the chord progression is 3-6-5-6-4.

Is this chord progression usual? I know the chord progressions such as 2-5-1, or 4-3-2-1, but I've never seen this progression. Is this progression unique exclusively in this song?
Old 8th January 2016
  #2
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No, it's not usual and this guy is a genius! Better than the Beatles anyway.
Old 10th January 2016
  #3
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This song redefines music theory.
Old 10th January 2016
  #4
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I hear that as starting with a 1 with the 3 in the bass, which is very common in modern gospel-



Actually in a gospel setting the bass player can pretty much sub in the 3 on any 1 chord he wants to...
Old 17th January 2016
  #5
Registered User
Quote:
Originally Posted by Croto1116 View Post
This song redefines music theory.
Hardly breaks out of a major scale ... not sure it redefines anything ...

A partial return to poly chords from the 80's - something the Beatles did decades before (e.g. the opening chord to Hard Day's Night, or many of the chords in The Long and Winding Road and other stuff off the Abbey Road album).

It is a very gospel thing, agreed.
Old 17th January 2016
  #6
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Someone really needs to invent the universal sarcasm font lol.
Old 20th January 2016
  #7
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Carnalia Barcus's Avatar
 

also, if it were really just the chords stated, it would be i iv III iv II in phrygian.
Old 22nd January 2016
  #8
Gear Head
Although Tyrese is probably the greatest innovator in the realm of R&B, I'll have to say that he had to dial it back on this one.

Seriously, it's trying for a neo-soul, or future-soul vibe and doesn't really pull it off.
Old 2nd February 2016
  #9
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um....i gave it a brief listening and i dont think that's 3-6-5-6-4

lets make everything as clear as possible to avoid ambiguity
the key should be F# major
the intro melody is:
135 4321221...etc (note name= f#a#c# ba#g#f#g#g#f# )

the bass is playing like this
[ 1 n 2 n 3 n 4 n ]
(b) d# g# (f#)
[ 1 n 2 n 3 n 4 n ]
c# d# b
i put () on those note because they were played in very low velocity
probably not played by bass but other instrument.

the vocal melody:
It seems like just the other day.....
f# a# c# e# d# d#c# c#

now we have b and e#....clearly its a f# major key.....
===============================================
edit:
damn....the forum auto-delete any extra spaces...
i cant get those notes on beat -_-
Old 2nd February 2016
  #10
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Herr Weiss's Avatar
 

Quote:
Originally Posted by Antique_Tales View Post
===============================================
edit:
damn....the forum auto-delete any extra spaces...
i cant get those notes on beat -_-

No cursing allowed!!
Old 2nd February 2016
  #11
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AuldLangSine's Avatar
 

To my ear this song starts with

Bb7 sus4

D#b7 +9

B maj +9 with C# bass / B maj +9 with D# bass / B maj +9 with B bass

With a cursory glance, I am calling it a chord revoicing of a 1 2 5 1 progression-- hardly fresh. The bass moves beyond the confines of the actual basic harmonic core to give it movement.

I like the chord voicings. I like stuff like that.

The vocal harmonies are very well done.

I also give him (or whoever is responsible for it) credit for modulating the key later in the song.

Every time the bass note changes, that's not really a new chord. Well, you can see it like that if you want. But if you do, in that case John Entwistle was causing the Who to change chords every 32nd note.

You know Ashes to Ashes by David Bowie? I was looking at that one over the weekend. That one looks like 1 6 4 5 b7 4 6 etc.

Those are not merely moving bass line notes over two or three measures of chord subs. These are actual basic harmonic shifts over several measures that are sung over.

Last edited by AuldLangSine; 2nd February 2016 at 06:51 AM..
Old 2nd February 2016
  #12
Here for the gear
 

Quote:
Originally Posted by AuldLangSine View Post
To my ear this song starts with

Bb7 sus4

D#b7 +9

B maj +9 with C# bass / B maj +9 with D# bass / B maj +9 with B bass

With a cursory glance, I am calling it a chord revoicing of a 1 2 5 1 progression-- hardly fresh. The bass moves beyond the confines of the actual basic harmonic core to give it movement.

I like the chord voicings. I like stuff like that.

The vocal harmonies are very well done.

I also give him (or whoever is responsible for it) credit for modulating the key later in the song.

Every time the bass note changes, that's not really a new chord. Well, you can see it like that if you want. But if you do, in that case John Entwistle was causing the Who to change chords every 32nd note.

You know Ashes to Ashes by David Bowie? I was looking at that one over the weekend. That one looks like 1 6 4 5 b7 4 6 etc.

Those are not merely moving bass line notes over two or three measures of chord subs. These are actual basic harmonic shifts over several measures that are sung over.
sorry but
how can Bb7 sus4 D#b7 +9 B maj be a 1 2 5 1 progression?
Old 3rd February 2016
  #13
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AuldLangSine's Avatar
 

I think you are looking only at the bass notes... maybe...
Anyway, that's what the original poster did.
Some chords are just thrown in there for movement so it doesn't sound boring. I am not counting those.
I just listened to the melody and played what I thought were the fundamental bass notes regardless of what was actually played. And that's what I came up with.
The song before being produced could have originally been 1 2 5 1 (that's really stripping it down), then the keyboard player totally revoiced the chords and added some chordal movement in between.

There isn't one way to look at it.

Chord substituting is a true art.

It is amazing what you can do with a simple 1 4 5 or 1 2 5 1, or any simple progression.

One of my friends asked me to do a slow jazz version of Twisted Sister's "We're not Gonna Take It Anymore." That was a riot working out! Quite a transformation...

Anyway, did you try playing those chords over the song?

Does Tyrese play any instruments? I looked, but couldn't find any evidence that he does on the net.

Last edited by AuldLangSine; 3rd February 2016 at 01:37 AM..
Old 3rd February 2016
  #14
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Quote:
Originally Posted by AuldLangSine View Post
I think you are looking only at the bass notes... maybe...
Anyway, that's what the original poster did.
Some chords are just thrown in there for movement so it doesn't sound boring. I am not counting those.
I just listened to the melody and played what I thought were the fundamental bass notes regardless of what was actually played. And that's what I came up with.
The song before being produced could have originally been 1 2 5 1 (that's really stripping it down), then the keyboard player totally revoiced the chords and added some chordal movement in between.

There isn't one way to look at it.

Chord substituting is a true art.

It is amazing what you can do with a simple 1 4 5 or 1 2 5 1, or any simple progression.

One of my friends asked me to do a slow jazz version of Twisted Sister's "We're not Gonna Take It Anymore." That was a riot working out! Quite a transformation...

Anyway, did you try playing those chords over the song?

Does Tyrese play any instruments? I looked, but couldn't find any evidence that he does on the net.
the following 2-bar midi is my answer
and hope that will make everything clear
https://drive.google.com/open?id=0Bx...U1mTmMzaVpHTjQ

btw, i am also curious about whether he can play any instruments...
Old 20th February 2016
  #15
Gear Head
 

Quote:
Originally Posted by Antique_Tales View Post
the following 2-bar midi is my answer
and hope that will make everything clear
https://drive.google.com/open?id=0Bx...U1mTmMzaVpHTjQ

btw, i am also curious about whether he can play any instruments...
Wow, you really helped me a lot! thank you so much for making this mid!
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