![]() Similarly, the melody itself is diatonic and reinforces B major. The song is otherwise in B major and uses straightforward functional harmony, though with a lot of borrowing from the parallel minor (B minor) via triads and seventh chords on bVI (G) and bVII (A), which is a common device. Still sounds really cool either way.Ī tamer example, but I've always liked the moment at 2:24 in this Pizzicato Five song: So I guess it comes out of linear relationships. Now that I think about it, though, if you ignore the bass the voice-leading is straightforward: The progression is Am > Em/A > Ebm(7) > Bø7 > E7, so otherwise it's basically a ii > V > i with a bit of decoration, but that Ebm is a total curveball that can't be explained as a tritone sub (which doesn't generally work well with minor-triad based sonorities anyway). In an A minor context, as part of an otherwise basic progression, we get an Eb minor chord out of nowhere. On that second tip, I've always found one chord in Traffic's "Freedom Rider" to be quite surprising: In other words, it comes out of nowhere and leaves with no explanation. stepwise, typically chromatic/half-step) relationship to the preceding or succeeding harmony. The other kind is a chord that might be normal in and of itself, but has no functional or linear (i.e. I suppose there are two kinds of weird chords that happen as one-offs: chords with an unusual structure, like polychords, quartal chords, or highly altered chords, that show up in songs that are otherwise straightforward.
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