which key/scale/chorda are those?electronic music

[ecsmix]

I WAS STUDYING SOME ELECTRONIC MUSIC YESTERDAY TRYING TO FIGURE IT OUT THE SCALE/CHORDS/keys of SOME OF THE SONGS I LIKE. I used BOOKS AND STUFF but I COULDN'T find out.please help.
WHAT'S MORE, I AM NOT A MUSICIAN I WISH I WOULD...
p.s: I am sorry about the capital letters.
THE CHORDS ARE:

B-D / C#-E / D-F# / E -G# = BOOKA SHADE

ANOTHER SONG = DEADMAU5

F-C-G / F-G#-D# / G#-D#-A# / C#-F-C / C#-D#-G#/ F#-C#-G#

ANOTHER SONG:

E-A-C-E / D-A-C-D/ G-B-D-G/C-G-C-E/B-G-B-G/D-G-B-D

WHAT'S THE THEORY BEHIND THOSE SONGS?
KEY,SCALE,CHORD NAMES?
AND PLEASE HOW DID YOU FIGURE IT OUT SO I CAN IN THE FUTURE.

THANKS.

[BertKoor]

p.s: I am sorry about the capital letters.

So why did you put them there? It looks horrible....

THE CHORDS ARE:

B-D / C#-E / D-F# / E -G# = BOOKA SHADE

Those aren't chords. You need at least three notes to form a proper chord. With two notes you only have simple intervals. I understand "Booka Shade" is the artist name, but what is the song? Got a YouTube link maybe?

ANOTHER SONG = DEADMAU5

F-C-G / F-G#-D# / G#-D#-A# / C#-F-C / C#-D#-G#/ F#-C#-G#

Again, what's the title of the song? I'd like to hear it myself when doing analysis.

F-C-G could be a F9. C is fifth in key of F (fifths go without mentionning in chords) and G is the second note: more commonly noted as 9 instead.

Could also be C/F: G is the fifth in the key of C, but the F is played in the bass.

Which of the two is impossible to say without further context. Ah, there IS more context! That would be the next chords.

I'd prefer to note Ab instead of G#, because the G is already present in both the keys of C and F (which are our candidates up to now) and the second chord would be Ab/F. Well, chord is a big word... If you only have the base note plus a fifth we call it a Power Chord for guitar: a chord without third making it major or minor.

ANOTHER SONG:

E-A-C-E / D-A-C-D/ G-B-D-G/C-G-C-E/B-G-B-G/D-G-B-D

A-C-E is the triad that belongs to A minor. If the bass note is an E then the chord would be Am/E.
From D to A is five steps in the scale. C is the seventh. So that's a D7, possibly Dm7.
G-B-D is the G Major triad, so a regular G chord.
C-E-G is the C Major triad (just swapped some notes around to get that)
After that a G Major again, with bass emphasizing the major third and the fifth in the next chord.

So all in all:

Code: Select all

Am/E  | Dm7  | G   | C   | G/B   | G/D  |

This is a chord progression following roughly the Circle of Fifths. Extremely common practice...

All you need to do is figure out the relative intervals of the played notes on the scale, and try to match them on simple triads. Then figure out weather there's a chord inversion (bass playing another note than root of the chord) and that can be tricky.

[ecsmix]

Thank you very much I will study this right now, I am spechless...lol

here's the links you asked me.
My friend told me they like to use (I-V)fifths, instead of the whole chord, I don't know if this is the case here but I heard others producers doing this,including deadmau5.








Based on that what would be my focus on the theory to fighure it out this easily on the future?
Thanks again, amazing work!!

[jancivil]

B-D / C#-E / D-F# / E -G#

B D F# is B minor. C# E G# is C# minor. B - D, and C# - E are MINOR 3rds. The other two are major 3rds. This climbs up as a scale, but can imply those two chords. (or if maybe slower, it might mean Bmin, C#min, D, E.)
A minor chord contains a minor 3rd and a major 3rd onto that. A Major chord does the opposite. These are called triads.

F-C-G / F-G#-D# / G#-D#-A# / C#-F-C / C#-D#-G#/ F#-C#-G#

F C G are perfect fifths (the technical word is quintal chords. I don't know of an agreed-upon shorthand for that sound).

F Ab Eb is an F minor 7th chord; E# G# D# is an E# minor 7th, same difference, spelled according to THIRDS, a 4-note '7th chord', which is chord, built by thirds, with the fifth, 'C', omitted.

G# D# A# is the same as F C G, if you have a look at the interval relationship you'll see the same shape. '3-note perfect Quintal'.

C# E# B# is a C# major 7th, aka as Db major 7th. Like the other '7th chord', a 4-note chord, built by thirds, the fifth is omitted. Db F Ab C is the full structure. If it had the same quality as the other 7th chord, it would read C# E G# B. A minor 7th chord built on C#. [spelled Db Fb Ab Cb on root Db]

Db F C is another way to spell it, Note Well that thirds amount to skipping a letter name, which is why we choose these spellings, the way you had, eg., F-G#-D# and C#-F-C isn't right and looks funny when you show them to musicians.

F# C# G# is the same perfect fifth construction as the other two, above. C# G# D# extends those fifths and 'inverts' the position so that the D# is next to C#. Also Known As a C#2 chord, which is based on triadic structure, eg., C# E G#, eliding the E with a D#. But in the context of the preceding chord, it's a fifth chord pretty much.

[ecsmix]

Simply amazing, thank you very much.
Which topics of music theory do you recommend to understand this concepts better?
The explanation is very good but I think I need more theory to undestand fully.
A dumb question...those two musics are they changing key?Do they have more than 1 key?

[jancivil]

The first one is really in what is called B dorian mode. Although no 'a' note is cited, it almost certainly would be an A natural, the scale being:
B C# D E F# G # A. The key signature for that contains, as you can see, 3 #s. This is the same key sig. as A Major. That array of notes, amounting to the (A) major scale, beginning on the second note (B), constitutes the 'dorian mode', which is a thing that goes back to ancient Greece. In modern times it's also been called the ecclesiastic or *church" modes. There are six others.

The 2nd example is all 'in key' as well. Let me correct this omission of mine: C# E# B# is a C# Major, aka Db major 7th. As the simpler spelling amounts to the way using flats instead of sharps, I'll go with that; it has four flats (or 8 sharps!*), which is the key sig. for Ab or F natural minor. {Elsewhere here are PLENTY of links taking you to material, circle of fifths is the whole basis for 'how many sharps/flats' and 'keys', how it works.}

The last one, 'in key', is the same relationship, it's in A natural minor, all white keys, no #s or bs, which is also the sig for C major. The relationship of major to 'relative minor' is down a minor third, which is 3 semitones or 'half-steps'

B# is what is called an enharmonic spelling of C. As you can see, 4 flats might be preferred over 8 sharps.

An enharmonic key relationship, the amt. of sharps, eg., key of G#, *8 sharps [G# A# B# C# D# E# F DOUBLE SHARP, looks like 'x'] and the amt. of flats, eg., key of Ab, 4 flats, adds up to 12. That's because it = the full Cycle of 5ths.
12 semitones to an octave in '12-tone equal temperament', which was made to ensure that these relationships, key to key, were consistent.

[ecsmix]

Thank you very much, again amazing explanation.I I will study more the circle of fifths.
The ood thing is I have a book chords for keyboard with all the possible(maybe not all) chords,inversions for every key and most of the times I can't figure out a music using those "regular/natural chords".
However we have a forum like that and people like you to help us out.
Thank you all.