AlucardXIX wrote:soundsofentropy wrote:Lots of standard classically influenced patterns in F minor. An overall i-V-i (Fm-C-Fm) thing going on, if that means anything to you.
The notes are not C# or G#, they're Db and Ab--same pitch, different note, theoretically speaking. And this isn't in the key of A at all. I don't mean to be rude, but this song is one of Dev's easiest to pick apart. The chord progression is predictable (but beautiful) given a little theory background.
So to answer your question, going note by note:
The first note is a pickup on the 5th scale degree in F minor (C), which goes to F, the tonic. The melody line then has some non-chord tones (like Db and G), but overall you get the "feel" of the tonic chord (i/Fm) for 2 measures. Then that C becomes a pickup to a C7 (C major with a b7, or Bb) chord. Again, the melody has a non-chord tone (Db), but you get the "feel" of a dominant-seven chord (V7/C7) for the next two measures. Then it repeats: tonic, dominant, tonic, dominant, tonic. But on the last tonic, Dev starts making it a little more interesting.
Let me know if you want any clarification or more analysis. I'm a composer, and I really enjoy this stuff.
If you happen to read my post again I do believe I used the words "could be" when I mentioned A major. I haven't dabbled in theory in almost 2 years now, I find that when writing music it can be almost a burden. Thought knowing your chords/notes/scales is a great thing.
It's great you know the theory behind it, but never be condescending about your knowledge of music theory. I simply stated the sharps instead of the flats because it is sometimes easier for people to understand sharps.
My point wasn't to mount a high horse. It was to get the correct information out there and answer Ouodo's question. If we're going to use the traditional 12-tone framework, we should respect its conventions and "rules" (correct use of sharps/flats, etc.). However, those rules are often made to be broken (forgive the cheese)...
Apologies if I've offended you. And I haven't dabbled in pure theory in about 2 years either. Just composing. Everyone has a different approach to the art, so I won't say that it's "better" to know a bunch of theory, but I find it to be helpful, as long as I don't rip my own pieces apart and over-analyze everything that I've written. The intent behind the music is more important anyway, in my opinion.
