#1
maybe this should be in the tab sections - let me know.

but anyone who knows the song, im looking for the theory behind the outro. does this progression follow some scale(s) or something? Maybe a combination? im just looking to learn what ever i can about why it sounds so cool, to me at least

it uses the chords G, Ab, Bb, Cm, D, D#, and Em - maybe technically Eb and Fbm, if its a mode or scale?

progression is as follows
Fbm - - - Eb - - - Bb - - - D - - - Ab - - - Cm - - - Ab - - - G - - -


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#3
At that time, Froosh was so stoned that in all likelihood, he was completely ignorant of the theoretical side and just said, "hell yea, do this" and they did and it rocks.

Apologies for dodging the question, I'm ignorant myself. I felt I needed to clear the air on the origin.
#5
I love this progression too, it's a perfect way to end such an epic song.
So, I'll try break it down if I can.
First I have to say there's a lot of half step resolutions in here, which contribute to the kind of exotic feel thats mixed in there.

Em - D#
You could look at that as being D# phrygian dominant, it sounds very sweet because E and B move down a half step to D# and A#. Also, theres a common tone in those chords, G.
D# - A#
That's just a VI - I. Pretty common movement.
A# - D
This sounds like it's resolving to D, because of half steps again. Also the b6 (A#) has a very strong pull towards D's 5, A. Kind of a bittersweet interval imo.
D - G#
wow, lol. I don't know what theory describes this movement, but it sounds pretty nice. Major chord down a tritone.. all I can say is there's obviously more half step movement here.
G# - Cm
I - iii.. kind of a sweet chord change, imo, because it emphasizes the maj7 in G#, which is the only tone that changes. More half step woot (G# to the G in Cm)
G# - G
And finally yer typical spanish sounding movement, maj chord down half step.. lots of half steps :P lol

That's just my take on it.. I'm not hugely into theory

edit: far as I can tell, there's definitely no set key or mode, it pretty much changes as he wants the mood to. In a setting like this I'd say it's more about the flow and direction you're feeling instead of sticking to a main tonality or whatever.
one more edit lol: The G at the end sounds really great, but could also have been put in there with the purpose of going back to Em when it starts over. Back to the relative minor and start it all over!
Last edited by Ead at Jul 28, 2008,
#6
Yeah there isnt really a set scale at all, you'll notice a lot of the licks he plays during the outro are within the chord he's playing at the time
#7
Quote by NickoAbate
theres technically no such thing as a "Fb"

You mind telling me the notes in Cb major?
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#10
thanks to Ead, although its a weird jumble of chords, that definitely explains it, to an extent.

ah, everyone nailing the one saying there's no such thing as Fb/E# or Cb/B#. thanks for the help, though


Saying the Red Hot Chili Peppers have no talent is like saying Guy Fawkes didn't have an epic mustache.