…how Whitney avoids the chords, and thus avoids not blowing my mind.
Today’s song with basically perfect chords:
I can’t remember if this amount of jazziness bothers you; for me it’s a reasonable amount. I hear the verse chords as I → vi → ii → V:
A [A]few stolen [F#m]moments is [Bm]all that we [E]share [A]You've got your [F#m]family and [Bm]they need you [E]there.
…with some 7s, 9s, 11s, whatever.
The pre-chorus throws in a couple nice vi → II changes:
Though I [F#m7]try to res[B7]ist being [F#m7]last on your [B7]list, But [A]no other [F#m7]man's gonna [G#m7]do [C#7b5]
…where clearly the III7b5 at the end is the best chord in the song.
The chorus takes us back to a familiar IV → iii → ii → V → I:
So I'm [Dmaj7]saving [C#m7]all my [Bm7]love [E]for [Amaj7]you
The bridge is pretty great too:
[G#m7]You used to [C#]tell me, we'd [F#m7]run away together [Bm7]Love gives you the [E]right to be [Amaj7]free. You [D#7]said be [G#]patient, just [C#maj7]wait a little longer But [Bm7]that's just an old fanta[E]sy
If you’re keeping track of non-diatonics, that’s two III’s, a #IV, and a a VII.
Summary of quality things that happen:
- I never object to a vi → II.
- That III7b5 going into the chorus. None of the transcriptions I can find online even mention the b5 in this chord, which makes me sad. I also don’t quite know whether to call it a b5 or a #11 or what the difference is.