Author Archives: dmorris

Oops!…I Did It Again

…and by “it” I mean “spent a lot of time thinking about big changes in vocal rhythm from one verse to the next”.

I don’t know very much about writing a blog, but I know that if you let yourself go back and make changes to old posts, you’ll never write new posts. So, rule of thumb: unless someone calls to your attention that you went on a racist tirade in the middle of a post, leave it alone.

That said, a few weeks ago, I did a post about changes in vocal rhythm from one verse to the next. I thought I had adequately covered the subject, until this week, when I was listening to “Oops!…I did it again” (BECAUSE IT’S FANTASTIC THAT’S WHY):

…and I had to chase the rhythmic dragon one more time.

Continue reading to break this one down, from awkward punctuation to overlapping rhythmic variations… →

Key Changes Faster Than You Can Say “Diatonic”

…if this post were one of the songs this post is about, it would have already changed key.

From: Dan

To: Ian

I was listening to the Grease soundtrack yesterday (BECAUSE IT’S FANTASTIC THAT’S WHY) and noticed that this nominally-ultra-conventional I → vi → IV → V song might be the earliest legitimate key change I can think of in a pop song:

[Ab] [Fm] [Db] [Eb]
[Bb] [Gm] [Eb] [F]
[Bb]We go to[Gm]gether like 
[Eb]rama lama lama ka [F]dinga da dinga dong
[Bb]Remembered for[Gm]ever as
[Eb]shoo-bop sha wadda wadda [F]yippity boom de boom

So if you’re keeping score, that’s one round through the chord progression before the key change.

Can you think of other songs with key changes essentially right away? Or, I’ll define slightly more broadly as “key changes before the lyrics start”.

Read more to debate pop’s earliest key changes… →

DoR playlists

This is not a real post. Or, if it is, it’s the worst post I’ll ever put on this blog.

With that said, if you can’t get enough harmonic interestingtasticness, I put every song we’ve ever discussed here at into playlists at Spotify and YouTube:

Spotify Web link:

Spotify URI:


I’ve left off a couple songs that were only mentioned to point out their not-interestingness, but basically that’s everything.

A fun game: listen and try to figure out what in each song we thought was worth talking about. I mean, not “fun” like waterslides or snowball fights, but at least a little fun.

Love Song

…the Doctor of Rock returns from IR.

From: Dan

To: Ian

What I do know is that Sara Bareilles is fantastic, but what I don’t know is what key this verse is in:

I have the verse as Gm → Bb → Dm → F:

[Gm]Head under [Bb]water
And they [Dm]tell me to breathe
[F]easy for a while

Do you hear that as vi → I → iii → V, or ii → IV → vi → I? I.e., if you start right from the beginning, do you hear it in Bb or F, and when are you sure? Do you think it matters that the Bb is really Bbsus2? (I can’t think of a Isus2 off the top of my head…)

Continue to ponder this key change or lack thereof… →

When One Melody Isn’t Enough

…big changes in vocal rhythm from one verse to the next.

It’s always a nice touch when a song uses slightly different lyrics from one chorus to the next… I feel like I’m getting about one dollar more songness out of the song. For example:

First chorus

[D]Do you come from a [A]land down under [Bm][G][A]
[D]Where women glow[A] and men plund[Bm]er? [G][A]
[D]Can you hear can you he[A]ar the thunder [Bm][G][A]
You [D]better run, you bet[A]ter take [Bm]cover [G][A]

Second chorus

[D]I come from a [A]land down under [Bm][G][A]
[D]Where beer does flow[A] and men chund[Bm]er [G][A]
[D]Can you hear can you he[A]ar the thunder [Bm][G][A]
You [D]better run, you bet[A]ter take [Bm]cover [G][A]

But let’s face it, changing “plunder” to “chunder” is hardly a full day’s work. What really impresses me is when a song noticably changes the melody from one verse or chorus to the next, and not just in an improv/let-it-loose/singer-didn’t-really-learn-the-song way. In an on-purpose way.

Continue reading to hear examples of going the extra rhythmic mile… →

Who Put the II in the Bop Shoo Bop?

…doo-wop-era songs that are more interesting than you remember.

The ’50s and early ’60s have something of a rep for harmonic simplicity. Ask anyone with half a guitar to “write you a ’50s song”, and you’ll get a slow I → vi → IV → V progression, probably pausing for a bridge that starts on the IV, only to return to I → vi → IV → V. Incidentally, the song will also have the words “you” and “love” in the chorus, but lyrical complexity is beyond the scope of this post.

This progression is so common that the Internetz just call it the “’50s progression” (also see Wikpedia’s List of songs containing the ’50s progression).

I’m not here to convince you that the ’50s and early ’60s were really a period of experimental jazz-prog. In fact, I pretty much agree that for ~15 years, chords were definitely almost as simple as Wikipedia would have you believe.

But I do think we’re throwing the II and the iv out with the… damnit, I really thought that metaphor was going to work. What I’m saying is there were a few songs that you probably think of as:

…that were actually more like:

This is similar to the general perception that all ’80s hair bands were only as good as Ratt and Warrant, but actually Guns n’ Roses is awesome and gets unfairly lumped in.

So this post, as per the title, is about “doo-wop-era songs that are more interesting than you remember”. Note it’s not just “interesting chords from the ’50s” (of which I’m sure there are a jillion), it’s songs you probably think of specifically as ’50s progression songs that are actually hiding harmonic good times beneath a thin veneer of I → vi → IV → V.

Continue reading to find the harmonic gems in infinite array of ’50s progressions →

The Doctor of Rock Certifies Meghan Trainor as Harmonically Fresh

From: Dan

To: Readers and Meghan Trainor

On an earlier post, when breaking down game film from Let It Go, I said: “I don’t know of other songs with … repeating phrases than end in Xm and X”. Let It Go looks like:

The [Em]snow glows white on the [Cadd9]mountain tonight
Not a [D]footprint to be [Am]seen
A [Em]kingdom of iso[Cadd9]lation, and it
[D]looks like I'm the [A]Queen

Turns out Meghan Trainor’s “No Good For You” does the same, arguably in a more interesting way:

I miss that [Em]happy friend that I had
[A]You've been acting so sad
Won't you come [D]back? yeah [Bm]yeah

You never [Em]take your time with your girls no more
[A]Always with your new boy
But he ain't all [D]that
But [B]you don't know yet

And just when you think nothing else is going to happen in this song… read on! →