chord progression analysis help

[brekehan]

I was messing around and came across this progression. I want to understand it relative to the theory I am trying so hard to grasp.

http://www.christopherpisz.is-a-geek.co ... around.wav

Am I in the key of A minor?

Are the chords "inverted" versions of Am, F, C, G?

I am not sure if "inverted" is the right word. You can move any of the notes up and down octaves. How do you know what specific notes to play?

Is progression (if my notation is right) is i, VI, III, VII?

My chord wheel talks about going to the V of vi for a key change. I tried Esus4 at the end. My ear tells me to go to F next, but I don't know why. How can I solidify a key change?

[Nystul]

Well the chords sound like exactly what you say they are, and it is indeed in Am. Incidentally, this four chord sequence (in any minor key) has been used in a lot of pop hits for the past few decades. Some call it the Sensitive Female Chord Progression.

As far as which notes to play when, I'd say to trust your instincts on that. The choices you make there with an arp like this affect the groove. The way you did it with the high notes on 2 and 4 it sets up a very straightforward, driving kind of groove.

I'm not sure what you meant here by inversion. An inversion is when the bass note is not the root of the chord. For example if you have an E in the bass for your A minor chord, that would be an inversion. But if you have an A in the bass, that is the root position of the chord.

The Esus is kind of awkward there. To me it just feels like an Am sort of chord here, which would continue to F but isn't changing the key. As far as key change goes, I guess first would be to have some reason to want to change keys and figure out what key you need to change to. Then depending on what it is and why you are changing, you might just be able to jump straight to it. The V of vi idea sounds like something you could use to slip from a major key to the parallel minor. But here you are already in a minor key.

[jancivil]

your chord wheel isn't capable of thought or reason. you should not rely on such a thing for musical decisions.
if you don't have the instinct to take F as the (new) key, you are yet to have a reason to go there.

in songwriting, you may find yourself impelled to make such a decision... you may have a tune that takes that direction or seems to want to, you may feel what you have is too static, too 'boring' and a change is a dodge of that... but right now you just have a chord progression.

following a program's 'feature', outside of all musical context or thought... don't waste your time.
is getting people on the internet to guide you through the bramble that this 'theory' resides in, in order to deal with your chord wheel's regurgitation of empty principles going to give you adequate knowledge at the end of the day? the chances are you'll become quite confused before you get anywhere.

and (with chord wheels etc, software in place of knowing anything), you'd be relying on a crutch before you can walk really.

you really should undertake the thing holistically. be patient and do the work in good faith. take a course. Cue Jumpin Jack Flash to suggest that one good online one.

[jancivil]

in the key of A minor, "V of VI" will be C by the way. aka "III"; there can be a 'dominant' pull by making that into a major/minor 7 or dominant 7th, "C7"...

Your Chord Wheel's "V of vi" is something to do in major; if your key is C, V of vi is E, target is A minor. But you're in A minor now. N/A.

I will give you this: the V ['resolving'] to VI is known as a deceptive cadence, V to VI in minor, very common. Often the VI happens to be first inversion, verifying the 'deception'; as the third of that [F] chord, [A] in the bass, is the tonic of the key [A minor].

[brekehan]

Well the chords sound like exactly what you say they are, and it is indeed in Am. Incidentally, this four chord sequence (in any minor key) has been used in a lot of pop hits for the past few decades. Some call it the Sensitive Female Chord Progression.

I looked at this

and found out exactly what you mean. No wonder my brain spit it out. I've heard it a zillion times and didn't know it.

I'm not sure what you meant here by inversion. An inversion is when the bass note is not the root of the chord. For example if you have an E in the bass for your A minor chord, that would be an inversion. But if you have an A in the bass, that is the root position of the chord.

I don't understand how to talk about playing G-B-D, B-D-G, or D-G-B, except that they can all be called G Major triads. The latter two are "inversions?" If so, how do I distinguish between 2nd and the 3rd fingering in that example?

The Esus is kind of awkward there. To me it just feels like an Am sort of chord here, which would continue to F but isn't changing the key. As far as key change goes, I guess first would be to have some reason to want to change keys and figure out what key you need to change to. Then depending on what it is and why you are changing, you might just be able to jump straight to it. The V of vi idea sounds like something you could use to slip from a major key to the parallel minor. But here you are already in a minor key.

Now, I am super confused about V of vi. I thought I just turned my wheel somehow and ended up on E Major.

I think, what you are saying is that I cannot end up in E major from C major or A minor, using this concept, but rather can use the E, E7, or Esus4 chord to change from C Major to A minor.

[brekehan]

Ok, I used what you guys told me, as far as I understood it, and did much reading on the web using the terms discussed.

I think I can now label my chords using inversions. Correct me if I got it wrong.

I also made an attempt at a minor to major switch, and a switch back.

Here is what I came up with:
http://www.christopherpisz.is-a-geek.co ... round2.wav

The first progression, in the key of A minor (8 measures):
Am 2nd Inversion, F 2nd inversion, C 1st Inversion, G 2nd Inversion

The second progression, in the key of C major (4 measures):
C, G 1st inversion, F 1st inversion, G 1st inversion

My transition from major back to minor:
C, G 1st inversion, F 1st inversion, Esus4 2nd inversion

Is that all correct in my way of writing it?
-----------

Some things I noticed:
The transition from minor to major sounds very very abrupt and a bit out of place. Any ideas on how to make that sounds more natural?

The transition from major back to minor sounds perfectly natural.

The use of the Esus4 chord there is amazing. My ear loves it and tingles about it in agreement!

[Nystul]

The Axis of Awesome gig uses a closely related major progression: I, V, vi, IV. In C major that is C, G, Am, F. Johann Pachelbel stole these chords from the Beatles to produce the graduation song for Vitamin C.

[james_mcfadyen]

More accurately it is A Aeolian.

[shankfiddle]

Johann Pachelbel stole these chords from the Beatles to produce the graduation song for Vitamin C.

HAHAHAA i really hope that was meant as a joke.

I've played in probly over a hundred weddings, and everyone asks for pachabel canon. The full progression is (in case anyone's curious, I didn't see it here)

I V vi iii IV I IV V ad nauseum

trust me, I couldn't forget it if I wanted, and I do

[JumpingJackFlash]

you really should undertake the thing holistically. be patient and do the work in good faith. take a course. Cue Jumpin Jack Flash to suggest that one good online one.

You mean this one?

Also, check out:
An introduction to modulation (changing key)

[jancivil]

Now, I am super confused about V of vi. I thought I just turned my wheel somehow and ended up on E Major.

I think, what you are saying is that I cannot end up in E major from C major or A minor, using this concept, but rather can use the E, E7, or Esus4 chord to change from C Major to A minor.

'vi' in 'A minor' doesn't apply here. the triad you'll construct on the sixth degree of minor normally is major quality, hence the capitalization of the roman number.

you grasp correctly that V of vi is made to take you, at least temporarily, to vi; or vis a vis C major, to A minor... you're not so confused now. Conversely, "V of VI" in minor targets a major chord. This 'V of' business is known as a secondary dominant. Which BTW tends to be second year harmony.... I gave it as food for thought...

but the 'dominant' pull ("V of...") is designed to make a new key compelling. As seen here, minor into major quality to lend a 'leading tone' effect - as well as the rising fourth 'strong' movement, and even the tritone of the major/minor seventh 'dominant seventh' - to the new tonal center.

[jancivil]

Some things I noticed:
The transition from minor to major sounds very very abrupt and a bit out of place. Any ideas on how to make that sounds more natural?

I don't notice that at all. there isn't anything jarring there. if I were just letting that wash over me I would notice no change of key even, A minor to C major is not real consequential in this case, there is nothing altered... OTOH, G# in a V of vi in major is an alteration, which you appear to elide with an 'A'.

you can be bolder with traditional harmony.

it's a good idea to learn music made by masters and notice what happens. you're very bright apparently... take a course, vastly better than scrambling to put it together piecemeal, more efficient for one thing.