profile
ToneGym
Feb 06, 22:56 in ToneGym Official
Congrats @Simon Krumpholz for winning the Golden Ears Award!
profile
Colin Aiken
Feb 07, 07:45
Fantastic!
profile
k sh
Feb 05 in ToneGym Cafe
Hello guys! Hope all is well.
I have a question about theory or song analysis on this song called Highway 1009 by Enhypen. I'll put the link below.

I initially I thought this is key in C. and almost every 4th bar they put D Major (root F#). But some people say the key is G major. Well I honestly am sure it's C but I can't convince others. How should I approach this? Or this song can't (or shouldn't?) defined key? Some people suggest it's mode because it shows C major scale but also F#?
It'll be great if someone could answer this. Thank you!!

here's the chord progression. Correct me if I'm wrong.
C-Em/B-Am-Em-F-Em-D-G

profile
Question Toothbrush
Feb 06, 10:52
I enjoyed the music and the discussion right here!
profile
Mark "Tomato" Alley
Feb 06, 10:56
I had another listen, so let me attempt to analyze a bit. I'm new to analysis, so don't take my word for granted.

The progression sound to me like a: I - V(c) - vi - I(c) - IVsus2 - I(c) - V/V(c) - V. The I-V(c)-vi progression is definitely a sign that it's in C.

Many of the chords are not in root position. The inversions makes a nice bass movement avoiding the strong C and G notes, keeping the harmony fragile and unstable up until the end when the V chord comes into play to close the loop. The sus2 on the IV also participates in the airy character of the sequence by not introducing the third.

In some way all the thirds sound brittle, except the one from the first chord (the I) and the last one (from the V chord). That's because the inversions make them minor intervals instead of major intervals, and the sus2 makes it a second.

Also I don't hear any upper extensions, 7th, 9th or so. So also (talking about inversions because we like the topic so much around here :)), the inversions could be a way of creating interest and getting the fairy-like whisper of higher notes without having to use jazzy extensions.

Is that right? What do you guys think?
profile
Mark "Tomato" Alley
Feb 06, 11:14
I think I'm wrong, the IV has no sus in it. The guitar is actually playing the notes F C A.

Also the D is a rootless D7, so F# A C.
Hello guys! Hope all is well.
I have a question about theory or song analysis on this song called Highway 1009 by Enhypen. I'll put the link below.

I initially I thought this is key in C. and almost every 4th bar they put D Major (root F#). But some people say the key is G major. Well I honestly am sure it's C but I can't convince others. How should I approach this? Or this song can't (or shouldn't?) defined key? Some people suggest it's mode because it shows C major scale but also F#?
It'll be great if someone could answer this. Thank you!!

here's the chord progression. Correct me if I'm wrong.
C-Em/B-Am-Em-F-Em-D-G

Congrats @raf arg for winning the Golden Ears Award!
profile
Congratulations!!!
profile
raf arg
Feb 04
thanks everyone !!!
profile
Terri Winters
Feb 05
That's a bit one - congratulations!!
Hi all! I can't tell if I'm missing something, but I'm on level 37 of Route VI (chord progression detection), and I'm seeing the label of a flat VI but I'm wondering why it's called a flat VI (or if this is a mistake)?

In this example below its calling the F major triad the 'flat' VI of Aminor when it's just the VI, right? Thanks!
profile
hmm as far as i can see its just a regular VI
profile
F is flatVI of A (knowing that F# is the VI)
profile
There are two different conventions when using Roman numeral notation for chord progressions. One labels sharps and flats relative to the key the piece is in. This seems to be the convention you are expecting. Another convention labels sharps and flats relative to the major scale. This is the convention Route VI is using. (Personally, I prefer the latter, as I find it less ambiguous, but YMMV.)
I have finally reached a year of workouts here. WOW I have seen a lot of progress! I am now able to recognize intervals reasonably well, progressions quite well, my melody recognition and memory has improved greatly (from zero to something), my sight singing skills are getting somewhere, and inversions are there to keep me humble.
I have learned a ton from the community as well, I want to give a big thank you @everyone!
profile
Good job! Ear training is actually so useful... I also had zero knowledge of it a few years ago, and being able to identify stuff has changed the way I see and make music.
profile
Good for you!!! Thanks for sharing. I think that it is a journey for everyone !
profile
Terri Winters
Feb 04
Wow! You are awesome, & I really appreciate how active you are helping the community. You rock!
Congrats @Miguel Pereira for completing the 'Music Theory Basics' program!
profile
Terri Winters
Jan 31
Good for you - congratulations!
profile
.Good for you!!
profile
Colin Aiken
Feb 01
Good work!
How do I make sure my profile doesn’t appear on Google search?
Thanks
profile
Change a name so it gets lost in search results
Is there any way to change the accuracy setting on solfegiator? For example I want it to only count the note sung as correct if its within 25 cents
profile
Alex Giddings
Jan 27
@Benjamin Jack Are you factoring in considerations of temperament (i.e., just vs. equal)?
profile
Benjamin Jack
Jan 27
I defiantly do not have that kind of control over my singing, I am using equal as I am a pianist so that is what is in my head. I just mean that I can be singing ti flat which is scale degree of min7 when I should be singing the maj7 and it still gives it to me.