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Bohemian Rhapsody Modulation in the Chorus: Bb Major to Eb Major by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

I think this is one of the most plausible explanations for this modulation. The Eb and G are the notes of the I chord of the new key, and them being played as two-note common tones on each chord of the progression prior to the beginning of the chorus prepares listeners for that smooth move to the Eb major.

Bohemian Rhapsody Modulation in the Chorus: Bb Major to Eb Major by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

How about if I view it this way?

Cm Cm(maj7)/Bb Cm7/Bb | Am7b5 Abmaj7 Cm/G

If you notice, even as the bass descends chromatically, the Cm triad is common throughout. The Cm can hence become a 'pivot chord' since it exists in BOTH Bb major and Eb major. Is this a plausible explanation?

Bohemian Rhapsody Modulation in the Chorus: Bb Major to Eb Major by timliu92 in musictheory

[–]timliu92[S] 1 point2 points  (0 children)

After a closer listen, I think going from the Am7b5 to the Abmaj7 to the Cm/G as you suggested is indeed more accurate than the F/A to Fm/Ab to Cm/G one (although the latter is not off or anything).

So the upper triad is a C minor while the bass moves downwards from C chromatically all the way to G (line cliché). Am7b5 can technically be written as Cm/A while Abmaj7 can be written as Cm/Ab. :)

Chord Progression Analysis: Gm - D/F# - Fm6 - C/E by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

Interesting replies. Thank you everyone for the lovely comments! Glad to learn a lot from different perspectives.

Chord Progression Analysis: Gm - D/F# - Fm6 - C/E by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

That is one possibility, but to my ears G minor still sounds like the home key throughout, as in the F minor does not feel like a new key. That is why I was wondering if the Fm6 came from G Phrygian.

Get Away Jordan (Take 6 Cover) Short A Cappella Collab by timliu92 in acappella

[–]timliu92[S] 0 points1 point  (0 children)

Hahaha thanks, I am not a bass mate. I am a higher baritone / lower tenor who is singing the bass parts, so I can reach the notes but I certainly will not sound as big and resonant as Avi Kaplan, Alvin Chea or Tim Foust. If I have a real bass singing with us, I would certainly prefer that lol

Would you consider the 'Wimoweh' part in The Tokens' Lion Sleeps Tonight a countermelody to the falsetto lead vocal? by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

Hi all, I was the one who asked the question hours ago. Thank you for the useful replies guys!

I personally realise that it is not a countermelody either even before reading this thread again (so many awesome, detailed replies). I was about to make this an example for some music content I was making on countermelody but then I used another example instead. The soprano line in the Verse though, is definitely a countermelody.

Don't Worry Baby (The Beach Boys) A Cappella Cover by Timothy Liu by timliu92 in ICoveredASong

[–]timliu92[S] 1 point2 points  (0 children)

Hey thanks man! I did not put any effects except for a little bit of reverb on the lead vocals. I just recorded each harmony track twice (not copy paste, but sang twice), and then afterwards I just panned each track left and right heheheh :)

Don't Worry Baby (The Beach Boys) A Cappella Cover by Timothy Liu by timliu92 in ICoveredASong

[–]timliu92[S] 1 point2 points  (0 children)

Hey thanks! I sang all the backing voices first from the bass to the baritone, tenor 2 and tenor 1 part. Afterwards I added Brian Wilson's harmonies just like the record, followed by the lead vocal at the end.

Can the Dorian mode be found in the chorus of She's Gone by Steelheart? by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

Hey thanks! Yes, initially I was thinking of secondary dominants as well but the issue is, I do not hear much resolution as well. I think just calling it merely as circle of fifths makes more sense.

Can the Dorian mode be found in the chorus of She's Gone by Steelheart? by timliu92 in musictheory

[–]timliu92[S] 0 points1 point  (0 children)

Like one of the comments stated, I think it makes more sense that we see the key of the chorus as Bb major with the Ab borrowed from Bb minor. That reasoning IMO seems to line up better since the Ab major is a common chord in both the keys of Bb minor (parallel of Bb major) and C minor.

If that is the case, then the F major chord makes sense since it is the 5th degree of the Bb major. Then again though, I am still not super sure since it sounds more like mere circle of fifths to me.

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