Can I use this chord progression in G major?
I am trying to write a song in G major and I am wondering if it would be ok to use this chord progression in G major:
G - Em - D - Am
chords chord-progressions key
edited Dec 28 at 4:54
VibrantWavE
315216
asked Dec 27 at 16:49
Shirin
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I am trying to write a song in G major and I am wondering if it would be ok to use this chord progression in G major:
G - Em - D - Am
chords chord-progressions key
edited Dec 28 at 4:54
VibrantWavE
315216
asked Dec 27 at 16:49
Shirin
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
4
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
4
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago
|
show 2 more comments
I am trying to write a song in G major and I am wondering if it would be ok to use this chord progression in G major:
G - Em - D - Am
chords chord-progressions key
edited Dec 28 at 4:54
VibrantWavE
315216
asked Dec 27 at 16:49
Shirin
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
I am trying to write a song in G major and I am wondering if it would be ok to use this chord progression in G major:
G - Em - D - Am
chords chord-progressions key
chords chord-progressions key
edited Dec 28 at 4:54
VibrantWavE
315216
asked Dec 27 at 16:49
Shirin
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
edited Dec 28 at 4:54
VibrantWavE
315216
asked Dec 27 at 16:49
Shirin
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
edited Dec 28 at 4:54
VibrantWavE
315216
edited Dec 28 at 4:54
VibrantWavE
315216
edited Dec 28 at 4:54
VibrantWavE
315216
315216
asked Dec 27 at 16:49
Shirin
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
asked Dec 27 at 16:49
Shirin
283
asked Dec 27 at 16:49
Shirin
283
283
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
New contributor
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
Shirin is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
Check out our Code of Conduct.
4
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
4
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago
|
show 2 more comments
4
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
4
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago
4
4
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
4
4
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago
|
show 2 more comments
3 Answers
3
active
oldest
votes
Of course, In the key of G major the following chords are part of the scale:
G Maj, A min, B min, C Maj, D Maj, E min, F# dim.
That pattern is valid for any Key, {I, IV, V} are Maj, {ii, iii, vi} are minor, vii is diminished.
Your progression is a I --> vi --> V --> ii.
On another note you can use any chords you want if they sound cool.
answered Dec 27 at 16:58
ggcg
4,325322
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
|
show 1 more comment
Of course you can use any sequence of chords that you want.
...in G major?
This is more specific as you want the music to identify as being in a major key.
The traditional way to define a key is with the dominant chord V. People often think - very naturally - it's the tonic I chord which defines a key. Of course the tonic chord defines the tonic, but we need more harmony information to know if the music is in a major key rather than being in a mode. For example the difference between the key G major and the mode G mixolydian. The dominant will define that.
All your chords give the tones for the G major scale and you have the dominant chord D so it is clearly in G major. If you had omitted the D chord, the tonality would be a little ambiguous.
Also, compare this with saying the chords are from E minor. You have the right set of tones for the key signature of E minor. But the dominant of E minor would be B. It isn't there, so this isn't E minor. You could call it E aeolian in that case.
Once you have a key established you are not precluded from using chords outside the key signature! That's fine too. It would be called chromatic harmony. There are many ways to do it.
answered Dec 27 at 17:21
Michael Curtis
5,700325
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goesV iV Iover and over except that part that goesbVII I. To the extent that a rock song can be in a key, it's in G major.
– Michael Curtis
Dec 27 at 18:40
I meantV IV Iabove... uppercase
– Michael Curtis
Dec 27 at 18:54
add a comment |
Sure. G, Em, Am, D7 is the cliché progression, but you can put them in your order if they fit the melody.
You could also use Bb, A7, Ab7 or just about anything else and still be 'in G major'. The scale is a framework, not a restriction.
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
add a comment |
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3 Answers
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3 Answers
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Of course, In the key of G major the following chords are part of the scale:
G Maj, A min, B min, C Maj, D Maj, E min, F# dim.
That pattern is valid for any Key, {I, IV, V} are Maj, {ii, iii, vi} are minor, vii is diminished.
Your progression is a I --> vi --> V --> ii.
On another note you can use any chords you want if they sound cool.
answered Dec 27 at 16:58
ggcg
4,325322
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
|
show 1 more comment
Of course, In the key of G major the following chords are part of the scale:
G Maj, A min, B min, C Maj, D Maj, E min, F# dim.
That pattern is valid for any Key, {I, IV, V} are Maj, {ii, iii, vi} are minor, vii is diminished.
Your progression is a I --> vi --> V --> ii.
On another note you can use any chords you want if they sound cool.
answered Dec 27 at 16:58
ggcg
4,325322
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
|
show 1 more comment
Of course, In the key of G major the following chords are part of the scale:
G Maj, A min, B min, C Maj, D Maj, E min, F# dim.
That pattern is valid for any Key, {I, IV, V} are Maj, {ii, iii, vi} are minor, vii is diminished.
Your progression is a I --> vi --> V --> ii.
On another note you can use any chords you want if they sound cool.
answered Dec 27 at 16:58
ggcg
4,325322
Of course, In the key of G major the following chords are part of the scale:
G Maj, A min, B min, C Maj, D Maj, E min, F# dim.
That pattern is valid for any Key, {I, IV, V} are Maj, {ii, iii, vi} are minor, vii is diminished.
Your progression is a I --> vi --> V --> ii.
On another note you can use any chords you want if they sound cool.
answered Dec 27 at 16:58
ggcg
4,325322
answered Dec 27 at 16:58
ggcg
4,325322
answered Dec 27 at 16:58
ggcg
4,325322
answered Dec 27 at 16:58
ggcg
4,325322
4,325322
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
|
show 1 more comment
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
V-ii is an unacceptable chord progression in common practice period harmony.
– Dekkadeci
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
@Dekkadeci Why?
– wizzwizz4
2 days ago
2
2
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
Absolutely NOT @Dekkadeci. Get your hands on a harmony book. There are many reasons why this is acceptable. ii is a substitution for the IV so this is similar to a V --> IV-->I. It is a variant of a common progression. An example of a Plagal cadence.
– ggcg
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg well, I wouldn't say “there are reasons this is acceptable” but “there are ways you can make it acceptable”. Ⅴ → Ⅳ → Ⅰ is certainly a bit against the grain of common-practice, and is usually justified by putting the Ⅳ in second inversion so it can be seen as a tonic with ⁶₄ suspension. Ⅴ → ⅱ → Ⅰ can be done too, but makes common-practice voice-leading more difficult. You should perhaps add an example... — Anyway, most pop songs don't really obey common-practice rules at all, so this is hardly relevant here.
– leftaroundabout
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
@ggcg - I got my hands on the harmony books recommended by the RCM program more than a decade ago for lessons. The only chords they say should follow a dominant-function chord are I (and i, and inversions), vi (and (b)VI, and inversions), and iv6. That's it. Somehow, they don't even mention secondary dominants of V as an option.
– Dekkadeci
2 days ago
|
show 1 more comment
Of course you can use any sequence of chords that you want.
...in G major?
This is more specific as you want the music to identify as being in a major key.
The traditional way to define a key is with the dominant chord V. People often think - very naturally - it's the tonic I chord which defines a key. Of course the tonic chord defines the tonic, but we need more harmony information to know if the music is in a major key rather than being in a mode. For example the difference between the key G major and the mode G mixolydian. The dominant will define that.
All your chords give the tones for the G major scale and you have the dominant chord D so it is clearly in G major. If you had omitted the D chord, the tonality would be a little ambiguous.
Also, compare this with saying the chords are from E minor. You have the right set of tones for the key signature of E minor. But the dominant of E minor would be B. It isn't there, so this isn't E minor. You could call it E aeolian in that case.
Once you have a key established you are not precluded from using chords outside the key signature! That's fine too. It would be called chromatic harmony. There are many ways to do it.
answered Dec 27 at 17:21
Michael Curtis
5,700325
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goesV iV Iover and over except that part that goesbVII I. To the extent that a rock song can be in a key, it's in G major.
– Michael Curtis
Dec 27 at 18:40
I meantV IV Iabove... uppercase
– Michael Curtis
Dec 27 at 18:54
add a comment |
Of course you can use any sequence of chords that you want.
...in G major?
This is more specific as you want the music to identify as being in a major key.
The traditional way to define a key is with the dominant chord V. People often think - very naturally - it's the tonic I chord which defines a key. Of course the tonic chord defines the tonic, but we need more harmony information to know if the music is in a major key rather than being in a mode. For example the difference between the key G major and the mode G mixolydian. The dominant will define that.
All your chords give the tones for the G major scale and you have the dominant chord D so it is clearly in G major. If you had omitted the D chord, the tonality would be a little ambiguous.
Also, compare this with saying the chords are from E minor. You have the right set of tones for the key signature of E minor. But the dominant of E minor would be B. It isn't there, so this isn't E minor. You could call it E aeolian in that case.
Once you have a key established you are not precluded from using chords outside the key signature! That's fine too. It would be called chromatic harmony. There are many ways to do it.
answered Dec 27 at 17:21
Michael Curtis
5,700325
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goesV iV Iover and over except that part that goesbVII I. To the extent that a rock song can be in a key, it's in G major.
– Michael Curtis
Dec 27 at 18:40
I meantV IV Iabove... uppercase
– Michael Curtis
Dec 27 at 18:54
add a comment |
Of course you can use any sequence of chords that you want.
...in G major?
This is more specific as you want the music to identify as being in a major key.
The traditional way to define a key is with the dominant chord V. People often think - very naturally - it's the tonic I chord which defines a key. Of course the tonic chord defines the tonic, but we need more harmony information to know if the music is in a major key rather than being in a mode. For example the difference between the key G major and the mode G mixolydian. The dominant will define that.
All your chords give the tones for the G major scale and you have the dominant chord D so it is clearly in G major. If you had omitted the D chord, the tonality would be a little ambiguous.
Also, compare this with saying the chords are from E minor. You have the right set of tones for the key signature of E minor. But the dominant of E minor would be B. It isn't there, so this isn't E minor. You could call it E aeolian in that case.
Once you have a key established you are not precluded from using chords outside the key signature! That's fine too. It would be called chromatic harmony. There are many ways to do it.
answered Dec 27 at 17:21
Michael Curtis
5,700325
Of course you can use any sequence of chords that you want.
...in G major?
This is more specific as you want the music to identify as being in a major key.
The traditional way to define a key is with the dominant chord V. People often think - very naturally - it's the tonic I chord which defines a key. Of course the tonic chord defines the tonic, but we need more harmony information to know if the music is in a major key rather than being in a mode. For example the difference between the key G major and the mode G mixolydian. The dominant will define that.
All your chords give the tones for the G major scale and you have the dominant chord D so it is clearly in G major. If you had omitted the D chord, the tonality would be a little ambiguous.
Also, compare this with saying the chords are from E minor. You have the right set of tones for the key signature of E minor. But the dominant of E minor would be B. It isn't there, so this isn't E minor. You could call it E aeolian in that case.
Once you have a key established you are not precluded from using chords outside the key signature! That's fine too. It would be called chromatic harmony. There are many ways to do it.
answered Dec 27 at 17:21
Michael Curtis
5,700325
edited Dec 27 at 18:53
answered Dec 27 at 17:21
Michael Curtis
5,700325
answered Dec 27 at 17:21
Michael Curtis
5,700325
answered Dec 27 at 17:21
Michael Curtis
5,700325
5,700325
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goesV iV Iover and over except that part that goesbVII I. To the extent that a rock song can be in a key, it's in G major.
– Michael Curtis
Dec 27 at 18:40
I meantV IV Iabove... uppercase
– Michael Curtis
Dec 27 at 18:54
add a comment |
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goesV iV Iover and over except that part that goesbVII I. To the extent that a rock song can be in a key, it's in G major.
– Michael Curtis
Dec 27 at 18:40
I meantV IV Iabove... uppercase
– Michael Curtis
Dec 27 at 18:54
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
An interesting idea of needing the dominant of a key to establish the tonic.Where does that leave Sweet Home Alabama?
– Tim
Dec 27 at 18:22
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goes
V iV I over and over except that part that goes bVII I. To the extent that a rock song can be in a key, it's in G major.– Michael Curtis
Dec 27 at 18:40
@Tim, dominant establishes being in a key, the tonality. You asked me before about that song, but I don't understand why. It goes
V iV I over and over except that part that goes bVII I. To the extent that a rock song can be in a key, it's in G major.– Michael Curtis
Dec 27 at 18:40
I meant
V IV I above... uppercase– Michael Curtis
Dec 27 at 18:54
I meant
V IV I above... uppercase– Michael Curtis
Dec 27 at 18:54
add a comment |
Sure. G, Em, Am, D7 is the cliché progression, but you can put them in your order if they fit the melody.
You could also use Bb, A7, Ab7 or just about anything else and still be 'in G major'. The scale is a framework, not a restriction.
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
add a comment |
Sure. G, Em, Am, D7 is the cliché progression, but you can put them in your order if they fit the melody.
You could also use Bb, A7, Ab7 or just about anything else and still be 'in G major'. The scale is a framework, not a restriction.
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
add a comment |
Sure. G, Em, Am, D7 is the cliché progression, but you can put them in your order if they fit the melody.
You could also use Bb, A7, Ab7 or just about anything else and still be 'in G major'. The scale is a framework, not a restriction.
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
Sure. G, Em, Am, D7 is the cliché progression, but you can put them in your order if they fit the melody.
You could also use Bb, A7, Ab7 or just about anything else and still be 'in G major'. The scale is a framework, not a restriction.
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
answered Dec 27 at 17:12
Laurence Payne
31.7k1558
31.7k1558
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
add a comment |
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
Please quote that quote you always quote...
– coconochao
Dec 27 at 18:00
add a comment |
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4
You'd actually be writing the song 'in G major' key, and probably using the notes from the 'G major' scale, and as the answers say, it'll work just fine. 'Is it ok to use...' Heck, yes! Don't feel there are restrictions to writing; basic 'rule' is - if it sounds good - it is!.
– Tim
Dec 27 at 17:16
4
What do you mean "ok"? You don't have to stick to any keys/scales, you don't have to stick to the chord-and-melody approach, you don't even have to stick to using 12 notes. We might be able to help you out better if you give us an idea of the kind of music you're trying to create.
– Sarkreth
Dec 27 at 18:55
What kind of consequences are you afraid of? What if you used those chords, and then it later turned out that it was not ok, what bad would happen? Is this for a music theory exam or what?
– piiperi
Dec 27 at 22:21
Here are 14 songs containing this chord progression : hooktheory.com/trends#node=1.6.5.2&key=rel
– Eric Duminil
Dec 28 at 1:22
@EricDuminil a good resource, though Fluorescent Adolescence is definitely not G Em D Am - pretty sure it's in the key of Amaj for starters ...musicnotes.com/sheetmusic/mtd.asp?ppn=MN0064914
– treyBake
2 days ago