#1
can someone help me out here?

On the wiki for it says it's in A minor and the end is in B minor..

I would just like it explained how there can be a D7/F#, a B minor chord, a D Major chord, and an F# Major chord if the first half is entirely in A minor like the wiki says?

can anyone kind of break it down for me?


to lay it out

Intro-Verse

Am- D7/F# (not sure)- Em - G -

Am- F - Em - G

Am- D - G - G/F# - C - C/B

Am - Bm - D

Chorus

C- D - G - F#

C- D - G - Bm - C - Bm - D

Outro

Bm - D - G - D - G - D - E7


so can anyone analyze that for me?
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Last edited by Three11Rules at Dec 10, 2008,
#2
The article is being vague in its analysis, artists like Radiohead don't stick rigidly to a key.
From my perspective, the verse is shifting between Dorian and Aeolian and then switches to B Aeolian at its end.
The chorus is B Aeolian (though the F# is from B Lydian, I think).
Outro is B Aeolian and it shifts to Dorian for the E7.
I'm only recently getting into analysing music, so someone correct me if I am (probably horribly) wrong.
#3
Quote by Cyberbob
The article is being vague in its analysis, artists like Radiohead don't stick rigidly to a key.
From my perspective, the verse is shifting between Dorian and Aeolian and then switches to B Aeolian at its end.
The chorus is B Aeolian (though the F# is from B Lydian, I think).
Outro is B Aeolian and it shifts to Dorian for the E7.
I'm only recently getting into analysing music, so someone correct me if I am (probably horribly) wrong.


interesting...not into modes yet.

so those are called modulations right? and i guess you're saying the verse is shifting between A Dorian and A Aeolian correct?
My username is old, don't judge me (but old 311 is good)
#4
People talk about modes too much. This isn't modal progression.

The whole verse is jumping between C Major and G Major.
Chorus is in G major with one chord out of scale (F#).

Isn't this more simple and understandable than this modal explanation?
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
#5
Quote by DarTHie
People talk about modes too much. This isn't modal progression.

The whole verse is jumping between C Major and G Major.
Chorus is in G major with one chord out of scale (F#).

Isn't this more simple and understandable than this modal explanation?

haha much more understandable...assuming that's right..

and i guess your also agreeing with the Outro being in B minor? I'm guessing the E7 is just thrown in there out of scale also?
My username is old, don't judge me (but old 311 is good)
#6
Will knowing the key make it sound different?
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#7
Quote by Guitartist
Will knowing the key make it sound different?

i'm just curious as to what they are doing, that's all.
My username is old, don't judge me (but old 311 is good)
#8
Quote by Guitartist
Will knowing the key make it sound different?

.....
no, but it will allow him to understand why it sounds like it does
#9
so is everyone pretty happy with DarTHie's analysis or Cyberbob's? anyone else want to contribute?
My username is old, don't judge me (but old 311 is good)
#10
Quote by Three11Rules
interesting...not into modes yet.

so those are called modulations right? and i guess you're saying the verse is shifting between A Dorian and A Aeolian correct?


Pretty much, F# is part of dorian, and F natural is aeolian.
I guess I'm really considering this more in terms of lead accompaniment.
#13
I would love to hear Radiohead explain the thought process behind the song.....just to know whether or not they actually took the ambiguity of the key into consideration before writing it......or if they just wrote what sounded good to them.

All of this analysis to me is like watching a scientist and a psychologist try to explain the theory and motivation of a Salvador Dali painting.

There are creators - then there are imitators who try to make sense of it all so they can copy it....(not talking about anyone in this thread, or even saying that it's a bad thing.)
Gear

Gibson '57 Les Paul Reissue
Marshall TSL 601
EHX: Big Muff, Metal Muff, Small Stone, POG, 2880
Ibanez TS808
Voodoo Labs Microvibe
Analogman Chorus
Morley Bad Horsie II
Keeley Compressor (C4)
Nova Delay
MXR 10-band EQ
#14
Quote by Guitartist
I would love to hear Radiohead explain the thought process behind the song.....just to know whether or not they actually took the ambiguity of the key into consideration before writing it......or if they just wrote what sounded good to them.

Johnny is the only member of Radiohead who knows music theory, and Thom is the main songwriter, so I'd say yes, he just played what sounded good to him.

I have no problem with people analyzing chord progressions to get a better understanding of them, but when you're writing your own music, conciously trying to incoperate features like key changes and odd time signatures can be ineffective. It sounds forced and uninspired.

The more you write, the better you become at it, and the more naturally these features will manifest in your music.
haha
#15
who cares? what a song!!!! lol
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