#1
I'm looking at the chord progression to the Doors - Touch Me.

I was wondering if this follows any pattern. I know it's in the key of G, but I don't get how they got the progression. I guess I'm too used to I IV V and what not but can someone give me some info on this progression?



	Come on, come on, c'mon, c'mon now
	G
	Touch me babe,
	Bm                 C                	Eb
	Can't you see that I am not afraid.
	              A#                        Dm
	What was that promise that you made?    	
	              D#                        F#
	Why won't you tell me what she said?
	              C#
	What was that promise that she made?
#2
A few chords are borrowed from the parallel minor (G minor). This is rather common.
Only play what you hear. If you don’t hear anything, don’t play anything.
-Chick Corea
#4
Quote by imaginary.frnd
There's a key change in the 3rd line after the C

So it starts at the Eb? does it switch to the key of A#?
Last edited by mick13 at Oct 22, 2009,
#5
when it gets to the A# it switches to the key of A# and the last 2 lines are in the key of G# ..or what? I just don't see any structure behind that chord progression. I might be mistaken.
#6
so you do you think they were thinking about theory when they made this? like paying attention to key changes?
#7
I dont know. There's a chance that they just wrote a melody that sounded good and built the chords around it, not thinking about key changes. Sometimes when you write something that way the keys just blend into each other pretty fine. Whatever. I guess I'll never understand how these guys wrote their music.
#8
I looked up some tabs, and one of them said there's a Cm at the end of the "Can't you see I'm not afraid" line, instead of an Eb. This makes a little bit more sense, but it looks like they're modulating a whole lot.
Quote by CrunchyRoll
So you would censor child porn.

This thread is so fukking fail.
#9
Cm definitely makes more sense since it fits into the key of A#. Also there may be lots of crap tabs out there that are full of stuff that just don't make any sense. (An Eb in the key of A# for example.)
#10
Quote by mick13
I'm looking at the chord progression to the Doors - Touch Me.

I was wondering if this follows any pattern. I know it's in the key of G, but I don't get how they got the progression. I guess I'm too used to I IV V and what not but can someone give me some info on this progression?



Come on, come on, c'mon, c'mon now
G
Touch me babe,
Bm C Eb
Can't you see that I am not afraid.
A# Dm
What was that promise that you made?
D# F#
Why won't you tell me what she said?
C#
What was that promise that she made?
The Doors are freakin awesome. I don't know what they were thinking when they were writing. I'm sure they would have been aware of the key changes. They use lot's of modulation in their songs but that doesn't mean it was worked out using theory - though I'm pretty sure between Ray and Robby they probably had a pretty solid grasp on the subject.

But of course there is theory behind it since theory just describes what's going on.

Alright I can see a repeating pattern starting in G. I'm going to rename a bunch of chords by their enharmonic equivalents to bring out the pattern more clearly. Most notably the A♯ I'll call a B♭ and all the chords after will be named in relation to that...

I iii IV ♭VI then modulating up to B♭ to repeat again
you get...
Key  |  I  | iii | IV  | bVI |
 G   |  G  | Bm  |  C  | Eb  | 
 Bb  |  Bb | Dm  | Eb  | Gb  | 

What makes this modulation work so beautifully is the way that ♭VI doubles as a IV/I of the new key and provides a nice pivot chord for the modulation.

You can hear the tension build up as the progression heads toward that E♭ (away from the G tonic) and it resolves nicely into that B♭ suggesting a new tonal home.

Then of course they finish with the ♭VI in B♭ doubles as a IV to the final C♯.

Here's another way of looking at the modulation in this progression and how the pivot chords function...
[B]<--Chord progression-->[/B]
|[U]Key ||[B] G | Bm | C | Eb | Bb | Dm | Eb | Gb(F#) | C# [/U]|[/B]
|[U] [B]G[/B] || [B]I[/B] | [B]iii[/B] | [B]IV[/B] |[B] bVI[/B] | | | | | [/U]|
|[U] [B]Bb[/B] || | | | IV | [B]I[/B] | [B]iii[/B] | [B]IV[/B] | [B] bVI[/B] | [/U]|
|[U] [B]C#[/B] || | | | | | | | IV | [B]I[/B] [/u]|
Awesome chords from an awesome band.
Si
Last edited by 20Tigers at Oct 22, 2009,
#13
Quote by Erick vonZipper
I looked up some tabs, and one of them said there's a Cm at the end of the "Can't you see I'm not afraid" line, instead of an Eb. This makes a little bit more sense, but it looks like they're modulating a whole lot.

It's definitely not a Cm, it's an Eb.

And thanks everyone for the help.
#14
Just a small input from me to follow on from everyone's fantastic advice. Although there are several sharps written in this version of the music they seem to me to be flats (e.g. A#=Bb)

i know it seems trivial to bring up enharmonics but it's an important point in this case (to me at least) that the A# should be called a Bb. It's definitely wrong to say it switches key to A# because that is a weird ass modulation...
#15
What's the theory behind how switching keys from G to Bb works so well?
#16
Quote by doive
Just a small input from me to follow on from everyone's fantastic advice. Although there are several sharps written in this version of the music they seem to me to be flats (e.g. A#=Bb)

i know it seems trivial to bring up enharmonics but it's an important point in this case (to me at least) that the A# should be called a Bb. It's definitely wrong to say it switches key to A# because that is a weird ass modulation...

Yeah I wrote them all as flats. It just helps you see everything more clearly. I probably should have written that final chord as D♭ instead of a C♯ too but that's not such a big deal.

What makes that particular key change work? It's up a MINOR third. The keys are fairly distant. I think it is the pivot chord and the familiarity of the repeated harmonic relationships that keep it stable I think.

Also an argument could be made that the ♭VI isn't really a pivot chord as it doesn't occur in the original key - which would make this a direct modulation. I tend not to view it in this way but I can't be bothered explaining it all right now. You can agree with me or not based on what you hear and come to your own conclusions.

EDIT: FIXED as per below.
Si
Last edited by 20Tigers at Oct 23, 2009,
#17
Quote by 20Tigers
It's up a minor third.


Fixed
Quote by CrunchyRoll
So you would censor child porn.

This thread is so fukking fail.