I'm kind of disappointed that your background is in focus, as I can now see that it's not a photo of Barry from Eastenders in your guitar strings. But I kind of preferred the randomness of believing otherwise.

perhaps there is a practical reason that I'm missing, but I find it much easier to think of the first progression as iim IV I V. The example you gave would be in Eb major and frees the mind of the overcomplicated explanation.

@@petealba707 the reason we wouldn’t do that is the tonic chord is defined by the key, which is ultimately defined by the melody. Wonderwall is in the key of F#m so the F#m chord has to be “i”

is this video a reupload, i am having a huge deja vu, swear i saw the video yesterday

@@DavidBennettPiano the problem with that is that many will assume it's in F# natural minor which it is not. It's actually Dorian flavor which puts it in E major. The tonic needn't be the first chord, it can be the third and gives someone a much better idea how to write a solo or melody.

I was thinking exactly the same thing. There is something very nostalgic about that progression that just takes you back when you hear it. I had the same feeling with the Plagal Cascade/Wonderwall progression. For me, it strongly reminds me of the mid '90s to early '00s era of music, mainly due to it being used in "Boulevard of Broken Dreams" and a bunch of Britpop songs.

It even works because at the V chord, you indeed, “don’t have to go home, but you can’t stay here”.

@@justsomeguy6133 Yep, time to go out to the places you will be from. So strange I couldn't tell that song was about giving birth until someone told me. It's about a uterus, not a bar.

Yeah like D ..Bm...G ...A..is very reminiscent of the 50s and early 60s with songs like blue moon and runaround sue

12 bar blues makes me think of 50s rock and roll

Holy smokes you're definitely a band nerd

||:

@@Trombonemusic765 Notre Dame Victory March almost matches- but Texas A&M basically uses Coney Island Baby, which barely has anything in common!

Really? Damn, I guess it just goes to show how versatile it is. Which songs in particular can you make that use it?

Well when you remember that most of old school metal comes from blues, it makes a lot of sense. That and the original DOOM soundtrack heavily took inspiration from those artists.(oldschool E1M1 to Metallica’s No Remorse for example) Hell Black Sabbath, the ones usually cited as the first actual instance of “metal music”, were literally a blues band before discovering the sound lol

😂😅

As soon as I saw the paramore I thought Rodrigo has to be next

Is there an inside joke there I don’t get?

@@AtomizedSound Really? It's pretty obviously more than heavily inspired by the Paramore track. It's practically copy & paste.

@@AtomizedSound kzfaq.info/get/bejne/p75nlJWhmsWuo4E.html

and finally U2 get a mention in David Bennett Videos :)

Changes the whole vibe of the song doesn't it

It's 12 bar GOSPEL, not blues!

It's a gateway to real Gospel.

In this video I was struck by how well the lyrics in the U2 song fitted with the chord progression. It's like Bono went on a journey to the V chord, but couldn't find what he was looking for, which was a return to the home chord.

kzfaq.info/get/bejne/p75nlJWhmsWuo4E.html Might I recommend this exploration of literally just that controversy?

Misery Business and Good 4 U comparison was also widely discussed by other youtubers, some argue that Olivia stole the chorus from Paramore - interesting topic!

@@TheViliukaskzfaq.info/get/bejne/p75nlJWhmsWuo4E.html Adam Neely made a great video on this

@@TheViliukas half the video is that chord progression. I guess a lot of people were stealing.

@Cheeser steeling chords that have and will always be there for the take ?

I mean Boulevard of Broken Dreams was off American Idiot for crying out loud. Their most experimental album of their career.

@@MorganTC Eh, I'd say they were most experimental during Uno Dos Tre. Problem is because of that, a lot of them misses and barely any of them hits.

Blues is fun, despite it' name, a whole similar set of variations. It's more like Anti-Blues if you ask me.

@@MorganTC American Idiot was super experimental but Boulevard of Broken Dreams in particular was a focus on production and composition planning, it's awesome how it's used as an example for having great theory put into it considering it's a punk band. It was a hit for a reason in my opinion

​@@altdechet5075it's not that theory based. I bet Billie Joe Armstrong didn't even cared about that aspect, he just threw a bunch of chords and knew how to make a good song out of them

Nice!!

33861551563386155954,

I concur, there needs to be a video about them.

Are those like using the flat 2 to lead you down to the 1?

@@martianmurray Secondary leading tones are similar to secondary dominants. With secondary dominants, you go to the V of a certain scale degree, but with secondary leading tones, you go to the vii° of a scale degree. You can probably imagine that you can start getting into some super complicated progressions with these.

well a secondary leading tone is really just a secondary dominant seventh chord without the root

@@thurm64 Of course, but change the root-change the chord. There’s no doubt they’ve still got the same function, but I’ve never taken a liking to that train of thought. We call them different things for a reason, after all.

"a gentleman's language to a savage's instincts" is suuuuch a beautiful phrase

I am big Oasis fan and love others mentioned bands too

Sometimes they play that chord but the last chord would be iv instead of IV.

It's also important to know that "Wonderwall" and "D'You Know What I Mean?" aren't in Dorian but Aeolian. Their main loops are i7-bIII-bVIIsus4-IVsus4, which lack either the major or minor 6th, and their vocal melodies remain in Aeolian minus a brief diminished 5th in "Wonderwall".

i want to know stuff like this as much as possible! what should i google? much appreciated in advance

It’s like they are saying something, I just know it!

He should do dj vids of just chord progression medleys

everything i wanted by billie eilish too

yes

@@ethanryan5319 True

I think it uses David's chord, I heard it pleased the Lord

I’m a big fan of 1-1maj7-1dom7-4-4minor-1-5-1 a lot of of chromatic movement

@@lukaopalicki519 but you don't really care for music, do you?

@@MilKeys Also the opposite chromatic movement I - I aug - I maj7 - I7 - IV - iv - I - V is really nice

Same. My YT algorithm thinks I'm a sound engineer or something, suggests me other channels, yet I just want to understand music I listen to better, and David does it so unashamedly simple and enjoyable, like, damn

Let me know if you do, the familiarity of these chords gets to my OCD

After the second 'fade into you' in the chorus they actually play the IV

i think youd be hard pressed to find a video game soundtrack that doesn't use the twelve bar blues somewhere.

It's a strategy that seems to have worked well for Taylor Swift!

@@AutPen38 aren't her chord progressions really basic ? Like it's always the standard chords in a key with non major or extended /borrowed chords ?

@@THOMAS2910able I think Taylor Swift's songs are generally a bit more interesting than some of the "one hit wonder" artists, but most chart-topping pop tunes of recent years just use diatonic triads, with the occasional 7th note. (Pop songs in the 1980s were much more "interesting", with various suspensions, and 9ths and 11ths etc). I mentioned Taylor Swift because - in one of the sections of this video - two or three of her songs used the same progression (although they may have been recorded in different keys). It's kind of hard not to use the same sequence (like 1 5 6 4) *somewhere* in your catalogue if you've done a few albums. After all, most pop hits just use the four "most important" chords from the major scales (I, IV, V and vi) in various different orders. Those four chords just work so well together and are usually easy to sing over too.

It's amazing how much eurodance/techno since about 1990 revolves around Am, F, and G (in various configurations) presumably because so many computer musicians (including me) can't really play piano, but can put 3 fingers on the white keys. Worldwide smashes like 'Mr Vain' and 'Rhythm is a Dancer', along with loads of other eurotechno and EDM tracks, are basically the same song.

@giascle I doubt that progression even exists in Western music, in fact it sounds really odd. Are you sure you're not mixing up major and minor modes?

Thanks Andrew 😀

251 is used in basically all contemporary music. It's extremely hard to find soul music that doesnt have a 251. It's mainly pop music that uses 451 instead for whatever reason.

I agree, although I never object to The Beatles. I never thought of Can't Buy Me Love as a blues progression, but sure enough, it's so close as to count that way!

​@@sschmidtevalue To be fair, i'm just poking fun. I don't mind the compulsory Beatles point. I just can"t stop imagining an excited David Bennett asking you if you've ever heard of The Beatles like Jehovah's Witnesses asking you if you've ever heard of the Bible. To you, David Bennett, i answer, yes, i do. I think i've already heard a few. My listen list is packed, but i'll make room for them.