Hi there !,
Can someone explain me why this song ( titanium from david guetta ) has 5 chords instead of 4 as i use to have..
Thanks

 

where did you get that?

 

Pmed you

 

back to you!

 

Ok, thanks.. i thought there was some theory behind it..

 

can you pm me where u get that too? thanks

 

pfff music theory behind Ghuetta songs, dream on

 

http://www.hooktheory.com/hookpad

 

Sure, check your inbox

 

4 bars - 4 bars - 4 bars - (2 bars + 2 bars)

 

@ Anonymous363,

I can't exactly explain you why this Song of the 'so famous' David Guetta has 5 Chords because I don't know it ('mea culpa' ! ), but there's absolutely no mandatory rule that a Song must only contain 4 Chords (as you use to have).

By cons, I can explain you (in case that you still don't know it, of course !) that the written 'Roman Numerals' equal to the 'Degrees' ('Chords Harmony') of a given 'Scale' : in this case, to 'Cm' ('I') which is the 'First Degree' (--> 'I'), also named the 'Root' or the 'Key' (e.g. in the Key of 'Cm').

 

Hi!

I can't remember exactly how the chords go in the song right now, but I did a guitar cover when I was teaching harmony and electric guitar in a music school and I used it to make the guys learn some harmony. Basically, as previously said, Cm is your I, thus the rest of the chords go like this: Ab = bVI, Bb = bVII, Gm = Vm.

As to why there are five chords, just notice how the last two (Cm and Bb) fit in the fourth bar, leaving the progession in 4 bars. The most important thing is the number of bars in the chord progression, not the chords. But rules are meant to be broken, so a nice experiment is trying to make a five bar progression that sounds even, which is quite odd... Sorry for the puns, i find them quite funny since i'm still learning english...

Hope it helps a bit.

 

Yeah i knew it,
It is just the first time that i see a chord progression like that and i wanted to know if there was some theory behind it.. I know that "if it sounds good it is good" but you never know

Thanks to everyone btw, it is more clear now

 

Unfortunately it didn't sound very good to me ears

 

@ Cordelay,

In fact, the 'Degrees' that you depicted should not be 'b', that's the Notes which can be 'b' or '#' ! *yes*
I mean, a 'VI' or a 'VII' Degree must be written as is, not as 'bVI' or 'bVII'...

Exactly, and without getting too deep in the Harmony Theory (because it's not the main topic here), you can frequently find in 'Jazz', 'Fusion', 'Avant-Garde', or similar Styles of Music, several Chord changes within a same Bar ('Chord Substitutions', 'Inversions',... ). *yes*

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@ Zenarcist,

 

Using the same chord more than once doesn't give you a extra chord. its still only 4 chords in that example. Basically chords can change whenever you want them too, the ear only wants to follow whether they resolve properly or have a relationship to the previous or following chords. Rhythm is what people notice more about a piece of music
Not much else to add to your question, but I'd say your probably thinking a bit too strict about what you can do, don't limit yourself so much
If you play the start of Beethoven's 5th with the wrong notes , its still recognizable as Beethoven's 5th. Play the right notes to completely different rhythm and you got a new piece of music, if you keep the timing between when the chords change the same, some people will recognize that its Beethoven's 5th, but its less obvious and using different inversions would fool the casual listener, as happens in a lot of music, where it's just different various of the same theme and released as different songs. it's the different rhythm's and choice of when the chord changes that allow a few well known progressions to be used over and over again

 

It's funny how the same thing can be seen from many angles, and how a discipline so mathematical as harmony can often be subject of so many disputes...

Maybe in classical harmony that's the correct way to name the degrees, I don't know since that's not my field, but in Jazz Harmony the correct nomenclature is using the proper interval (b or # where needed) since it helps identifying the function of the chord and the scale/mode it's coming from.

In "modern" or "jazz" harmony the Major scale triads look like this: I IIm IIIm IV V VIm VIIº
and then the Minor scale (Aeolian mode, natural minor) in triads: Im IIº bIII IVm Vm bVI bVII

I understand that in diatonic music it's just easier and maybe even more practical to just name the intervals without being so specific about its exact distance to the Root of the scale, but when you come across chord progressions like maybe || Eadd2 | Cmaj7 | Fmaj9#11 || it helps understanding what's going on using a exacter naming convention and it's easier to analize it like this || I | bVI(Lydian)| bII(Lydian)|| instead of trying to explain the parallel mayor or minor scales related to the root...

Kind of dense the explanation, sorry

 

Sorry, double post