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makin my way downtown
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Comments
faces pass and I'm homebound
just making my way, making a way through the crowd
Anyhow...
this song is...curious. There's something that sounds nice about it, but something else that grates me about it.
I think I like that it's in B major. It's a very bright key. And it's got that Emaj to F#maj progression...which is really bright.
On the other hand, it's very repetitive. And that progression never quite resolves to a B major chord, except for that Bmaj first inversion chord (on D#), which is a very weak resolution. And it does this over and over again.
is it necessary
also only gay homos resolve their chord progressions
The J-pop Progression, or what I call by that name, is IV V iii vi. In the current key of B major, it would be E F# D#m G#m.
The Time After Time Substitute replaces the last vi with a IV: IV V iii IV. It shares two of the same notes as vi, but gives a "pulling back" feeling rather than an "moving forward" feeling. In effect, it is actually a deceptive cadence in the relative minor key (minor dominant (v) going to natural submediant ((b)VI) rather than tonic (i)). I first noticed this in the song Time After Time. You can hear it when the singer (either Cyndi Lauper or INOJ, possibly others) sings "You, say; go, slow;"; each of those words is one of the four chords of this substitute progression.
Not sure why I call it a "substitute". It doesn't really have the same function as the J-pop progression (which is often followed by something that goes to the tonic of the major key in about three chords). All it is is kinda similar.
But anyway, it shows up here (E F# D#m E), in A Thousand Miles. In fact, it basically underlies the majority of the song. It's used four times in a row just for the piano intro. It continues into the verse, and the second phrase of the verse uses an abbreviated version of it (missing the last IV before repeating). Occasionally, there's a vi chord (G#m), but even the refrain is almost entirely this progression.
Granted, it's not exactly this progression. This more so describes the bass line motion. The F# is often an F#-B-A#, which is kinda like a suggested F# chord with a B held through from the previous chord and onto the next one, and the D#m chord is more usually a B/D# chord (i.e. B major with D# in the bass), but they all still resolve to an E major chord (or an E6 chord the fourth time in that piano intro, which is E major plus an added C# note, so it's not much different).
But it just does this ALL SONG LONG.
So I'm conflicted.
just sayin
but like if all you have is a bunch of chords and a melody and whatever it's gonna get pretty boring pretty fast
the entire point of this thread is this guy
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see how fucking happy he was? How content he was to stroll along to the tune of some Vanessa Carlton? Couldn't let him have that could you? Had to bring in some music theory and shit didn't you? Now he feels guilty that he enjoys music that is not necessarily terribly complex!
That turns him from a happy jogging man into this
_( ._.)_
good fucking job
the guitar in that song has always annoyed me though
there's too much going on already and the guitar kinda pushes it over the edge imo
i wonder if there's a version with just her and the piano
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ah yes, there he goes.
Go get 'em, Bill! You ask your boss for that raise!