Here at doctorofrock.com, some guys chatter about nerdy chord theory stuff in pop music, with examples so you can listen along at home. The only thing interesting about us is that we’re super into nerdy chord theory stuff, but we’re not into jazz. I know, how did that happen, right? Other than that, we’re just garden-variety music nerds.
The most common recurring cast members are:
- Dan Morris
- Ian Simon
- Jeff McHarmony
- Miah McShred
- Doantam McStrum
- Raja McRiffing
Love the site because I’m super into nerdy chord theory stuff, too =P You guys should do one on the tonicization of relative minor keys, like in Beatles’ Yesterday or Ray Charles’ Georgia.
What do I have to do to get on your list of “recurring contributors”? 🙂
More seriously: don’t you think it’s time to tackle the harmonic wonders of “Message In A Bottle”?
Verse: C#m, with a prominent F#m chord. Harmony is ambiguous because the four chords are mostly played as “power ninths”: 1-5-9, no 3.
First part of the chorus: I-IV-V in A major.
Second part of the chorus: F#m – D, so still in the vicinity of A major.
End of the chorus: C#m – A – C#m – A – F# ! Major, not minor.
Then back to C#m for the next verse.