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0:00 Introduction.
0:28 "Kiss From A Rose" progression.
3:05 "Isn't She Lovely" development.
6:12 Hook Theory.
6:55 "What's Up?" development.
9:25 "Marvin Gaye" progression.
4 Useful Chord Progressions You Should Know
Click Here To Learn Piano or Keyboard
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Another day, another great David Bennett Piano video to watch and learn something new!
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I was actually just wondering how you find so many examples of these chord progressions! Seems like a useful tool! I especially like the Super Mario cadence. Very triumphant and uplifting 👍
Reddit is a great source too.
Ride the flagpole! I always figured you just had an awesome set of fake books.
The bvi, bvii I chord sequence is amazing. Some other cool examples are Dire Dire Docks from Super Mario 64, and part of Z’s theme from Antz.
The bVI-bVII-I progression is often used by Elton John when he comes out of a chorus. Check Burn Down The Mission and Don’t Let The Sun Go Down On Me as a couple of examples
He has such a brilliant and instinctive sense of how and when to use those kinds of things. Just love that guy
I love your channel and the videos you make so much! Thank you for the hard work and all of the great content 😀
Thanks Anna!
Here, here!
“Isn’t she lovely?” chord progression always makes me CRAVE to listen to the chromatic descending melody, well accentuated, throughout the harmony.
I actually really love these ‘semitone effects’ in every chord progression.
BTW, “Isn’t she lovely” chord progression is also applied in most of the Final Fantasy victory fanfare themes, but I – bVI – bVII – I.
1:30 – The chord-progression of G#-major, A#-major, C-major (or transpositions there of), often but not always preceded by an F-major chord, is also a common grandiose ending to songs such as “The Star Spangled Banner” or “God Save The Queen” and alternative arrangements for the last three long instrumental chords (past the end of the vocals other than maybe the syllable “ah”) at the end of “The End” on Abbey Road.
Sorry for being didactic, but it would be a Ab, Bb, C. Technically the same notes, but a clearer way of expressing it. You use the flats because the chords have been lowered a semitone from the expected chords. It’s flat VI, flat VII, I… not sharp V, sharp VI, I as your notation would imply.
@rome8180 Sorry, but there is much of conventional music theory that I reject because it’s just not based on numbers. One thing I reject is that on a piano, tuned where every 1/2-step is at the frequency that is the (twelfth root of 2) times the frequency of the preceding note (a half-step down), there can ever be any possible difference between A-flat and G-sharp. It just isn’t. Those distinctions are not grounded in mathematical rigor. A lot of “theory” is based on, for instance, the idea that a scale of its very nature has 7 notes, as if that were something dictated by natural law rather than by humans CHOOSING to regard 7 notes as having a different significance than the 5 that are omitted. Your notions also come from notation, which is barbarically non-rigorous and has never been overhauled. If music theory were like ANY OTHER serious academic discipline, we wouldn’t still be writing it down as an evolution of the way it was written in the middle ages. It would have received a complete overhaul, a start-from-scratch. You use the word “expected” in your comment, and “expectation” is never in the music being played. “Expectation” is in the conditioned ear of the beholder, not in the music. (I used the word “grandiose”, but I wasn’t making an attempt at THEORY, just as someone who says “pretty” isn’t making an attempt at optics, hue-frequencies, or the way human biology changes light from outside the eye into a vision inside the brain.) Finally, music theory is dominated by musical practitioners, and so has no hope of being correct. It’s as if we were stupid enough to expect the greatest painters to be able to explain with mathematical rigor what I’ve mentioned about the subset of projective geometry known as “perspective” and what I’ve mentioned about processing light into vision. No, great painters know nothing about that, nor should they (because if they stuck to theoretical models we’d have missed a lot of CREATIVITY). While EVERYONE respects the distinction between rigorous science and creative artistry in vision, NOBODY respects it in music theory. There is a theory of a sequence of pitches that a person born deaf could come up with, because, just as light is what it is without us seeing it, the set of 12 tones (as molecules vibrating) is what it is without us hearing it.
@Topher The11th lmao that was a lot of words to say “I don’t care if people understand what I’m trying to say”
try reading a piano score where all the flats are spelled as sharps. Or communicate to other musicians. I certainly find that so confusing that it’s the difference between being able to sight read and having to look up note by note.
Also, as you learn more about music theory, you’ll find out that the distinction between flats and sharps help a lot. So many things are so much harder to explain without it. (not to mention that it actually sounds different, despite mathematically be the same pitch. Context matters)
@Shahar Har-Shuv Your remark about the difficulty in reading a certain kind of piano score proves my point more than debunking it. I said notation is barbaric. If notation were rigorous and rational, it’d be EASY to read music. And where you say “actually sounds different”, again, you missed my point. Music theory shouldn’t require music to be listened to. Music theory shouldn’t be about SOUND at all, but about fractions and logarithmic progressions.
And as far as context mattering to what music IS (as opposed to how we HEAR it) , let’s say you’re playing the three notes C, E, and G-sharp/A-flat (same not on an equal-interval keyboard) at the same time. A human listener might perceive that last note as the “A” of a MINOR chord knocked down a half-step, or a “G” of a MAJOR chord RAISED a half-step, yes, that is true, and the notes played just before might be what causes that note to be heard in different ways. But that simply demonstrates the unreliability of the human perception. I mean, when we measure light-waves with INSTRUMENTS instead of humans, we find that colors are different indoors illuminated by tungsten light-bulbs than they are outdoors in sunlight, but humans don’t SEE them as different. You’re wrong about the SAME note sounding differently. People HEAR it differently. They PROCESS it differently as they assemble coherence out of the sounds. But the SOUND isn’t different. It’s still the same number of vibrations per second. The idea that people can “hear” THE SAME FREQUENCY in different ways is TRUE, but ONLY proves that the human listener isn’t reliable as the arbiter of music theory, and only further proves that music theory isn’t rigorous.
More videos on chord progressions for certain moods please. All of them. Also dark etc would be nice.
I like the variation of the “What’s Up?” chord progression that uses the major II. So it goes I-II-IV. The Beatles used it a lot. I’m not sure if you’ve talked about it on this channel before, but knowing your Beatles love you might have.
One reason it sounds great is because it has a descending line cliche inside the chords. Let’s say you’re in C. You’d have a G-F#-F-E movement hidden inside the chords.
He made a video about that chord progression but I don’t think he used what’s up as an example lol, I believe it was called the, “Eight Days a Week,” chord progression because it was originally used in that song by the Beatles.
Yep, just left a similar comment. I always think of right here right now by Jesus Jones which really hammers home that descending melody line
Have you considered a book or course? You do a great job on these videos. Always enjoyable.
I think his main gig is doing music instruction both in person and online
The first progression is used in I Am The Walrus as well, both forwards and backwards.
There’s a variation of the 4 Non Blondes progression where the minor ii chord is major. Jesus Jones’ Right Here Right Now and CeeLo Green’s F You come to mind
Some friends and I Did a barbershop arrangement of Isn’t She Lovely this year. The harmonies were just so fun!
this video is sooo well made and easy to follow, i know itll blow up!
David, I’d love a video about The Sim 1 soundtrack from you. I think there’s gold there to dig plus the nostalgia factor. Keep up the good work!
The last time I performed with my high school jazz ensemble, we did a really nice little mashup of “Isn’t She Lovely” and “Saturday In The Park.”
(You could probably include “Cinnamon Park” by Jill Sobule in there, since it samples “Saturday In The Park” lol)
the first progression was used in the intro of With A Little Help From My Friends. surprised you didn’t mention it cos we all know your love for the beatles haha
The Kiss from a Rose progression is also used in She’s Electric by Oasis, and in a song that She’s Electric was probably inspired by, which is With a Little Help from My Friends by The Beatles.
“She’s Electric” is almost entirely I-V/vi-vi-IV, and “…Help From My Friends” is I-V-ii-V-I with I and IV for the chorus. Progression-wise, neither really compares to “Kiss From A Rose” or even each other.
Edit: The “Billy Shears” bit from the end of the title track on Sgt. Pepper does sort of use the progression, though.
@Zack C She’s Electric uses it at the end of each verse and ofc at the outro.
With a Little Help from My Friends uses it at the intro and the outro, which inspired the She’s Electric one.
I stand corrected! My apologies.
Hey, stop it. You’re being too polite for YT and may be banned.
Whoa! I never noticed that the Kiss From a Rose progression is the same as the into/verses of King of the World by Steely Dan!