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* The beginning of "Koi no Minoru Densetsu", from LuckyStar.
to:
* The Near the beginning of "Koi no Minoru Densetsu", Densetsu" from LuckyStar.
LuckyStar, when the guitars come in. (But NOT the song it's a parody of, "Koi no Mikuru Densetsu" from Haruhi.)
* The verse of "Forever", the opening theme of ElementalGelade, by SavageGenius.
* The verse of "Forever", the opening theme of ElementalGelade, by SavageGenius.
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crash into me
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* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.
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* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.{{COOLON}}.
* "Crash Into Me" by DaveMatthewsBand.
* "Crash Into Me" by DaveMatthewsBand.
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Whoops. That song is actually in Db major, not Bb minor.
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* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.
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* The first part of the chorus to REO Speedwagon's "Take It on the Run."
to:
* The first part of the chorus to REO Speedwagon's "Take It on the Run.""
* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.
* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.
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to:
* The fourth (and final) ending theme of EurekaSeven, "Canvas" by {{COOLON}}.
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Changed line(s) 10 (click to see context) from:
* The trope namer, Humoresque #7 in G-flat major. [[http://www.youtube.com/watch?v=WmAZoexenx8#t=1m19s This link]] goes to the middle section of the piece, where it most famously appears.
to:
* The trope namer, Humoresque #7 in G-flat Gb major. [[http://www.youtube.com/watch?v=WmAZoexenx8#t=1m19s This link]] goes to the middle section of the piece, where it most famously appears.
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* The beginning of the verse of "Take a Shot" from MagicalGirlLyricalNanoha.
* The beginning of "Koi no Minoru Densetsu", from LuckyStar.
* The beginning of "Koi no Minoru Densetsu", from LuckyStar.
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Total Eclipse of the Heart uses I vi IV V, not vi IV V I.
Deleted line(s) 34 (click to see context) :
* The chorus to Bonnie Tyler's "Total Eclipse of the Heart."
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None
Changed line(s) 34 (click to see context) from:
* The chorus to Bonnie Tyler's "Total Eclipse of the Heart."
to:
* The chorus to Bonnie Tyler's "Total Eclipse of the Heart."
* The first part of the chorus to REO Speedwagon's "Take It on the Run."
* The first part of the chorus to REO Speedwagon's "Take It on the Run."
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Changed line(s) 33 (click to see context) from:
* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and chorus
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* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and choruschorus
* The chorus to Bonnie Tyler's "Total Eclipse of the Heart."
* The chorus to Bonnie Tyler's "Total Eclipse of the Heart."
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* The first half of the verse of "Time After Time" by MaiKuraki.
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Changed line(s) 26,27 (click to see context) from:
* Talk Talk's "It's My Life" in the prechorus
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* Talk Talk's "It's My Life" in the prechorus
prechorus.
* The refrain of BonJovi's "Livin' on a Prayer".
* Near the end of the first boss battle theme of the MagicKnightRayearth SNES RPG.
* The refrain of BonJovi's "Livin' on a Prayer".
* Near the end of the first boss battle theme of the MagicKnightRayearth SNES RPG.
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None
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* Talk Talk's "It's My Life" in the prechorus
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** ''Editor's note: Where in this song is it used? [[http://www.youtube.com/watch?v=zIBJ9Kdcy9w Here]] is a link to a YouTube upload of the song if someone wants to help find it.''
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added example
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* Used in XaiverNaidoo's song "Sie sieht mich nicht."
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crappy example; I put it there originally.
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* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and chorus
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)
to:
* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and chorus
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)chorus
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)
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None
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* The ending theme of ''KiddyGrade'', "Future", features this in the refrain.
* The ''TalesOfSymphonia'' animé theme "Starry Heavens" has this at the beginning of the song and of the refrain.
* The ''TalesOfSymphonia'' animé theme "Starry Heavens" has this at the beginning of the song and of the refrain.
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None
Changed line(s) 3,4 (click to see context) from:
The original progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression. This is functionally very similar to the first four chords of a CircleOfFifths in a minor key.
to:
The original progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression. This progression is functionally very used in ways similar to the use of the first four chords of a the CircleOfFifths in a minor key.
key (i iv VII III).
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Changed line(s) 11 (click to see context) from:
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
to:
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme theme]] temporarily goes to minor]].minor.
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None
Changed line(s) 3,4 (click to see context) from:
The original progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression.
to:
The original progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression.
progression. This is functionally very similar to the first four chords of a CircleOfFifths in a minor key.
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* The slow part of the "Chess Music" from ''Theatre/{{Chess}}'' uses this progression, though it more often uses iv instead of VI.
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* The slow part Two phrases (1:21 and 3:06)in the middle of the "Chess Music" "[[http://www.youtube.com/watch?v=Y-HXjvmcLa8 Chess]]" piece from ''Theatre/{{Chess}}'' uses this progression, though progression. At other times it more often follows the traditional CircleOfFifths and uses iv instead of VI.
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None
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* The slow part of the "Chess Music" from ''Theatre/{{Chess}}'' uses this progression, though it more often uses iv instead of VI.
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None
Changed line(s) 3,4 (click to see context) from:
The true progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression.
to:
The true original progression is in a [[{{tonality}} minor key]], and runs as follows: i VI VII III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression.
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None
Changed line(s) 3,4 (click to see context) from:
The true progression is in a [[{{tonality}} minor key]]. Runs as follows: i VI VII III. However, that may be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant of TheFourChordsOfPop. The main difference, however, is that it ''is'' in minor, and part of its flavor is that it points toward the home triad of the relative major (III in the minor key, I in the relative major).
to:
The true progression is in a [[{{tonality}} minor key]]. Runs key]], and runs as follows: i VI VII III. III. The effect is a temporary toniciziation of the relative major key--in other words, the music temporarily sounds like it's going to the relative major key. This is frequently followed a chord like v or VII, and even if not, repeated instances of this progression.
However, that may be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant ofTheFourChordsOfPop. The main difference, however, is that it ''is'' in minor, and part of its flavor is that it points toward the home triad TheFourChordsOfPop. In this case, this functions as a derivative of the relative major (III in AuthenticCadence (V I). And again, it tends to be repeated a lot...often using the minor key, I same transition chord, too (iii, which is the same as v in the relative major).
minor).
However, that may be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant of
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Relative minor examples (i VI VII III):
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Relative major examples (vi IV V I):
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* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and chorus
to:
* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and choruschorus
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)
* the very end of [[http://www.youtube.com/watch?v=JbPqfZ2B5dI this version]] of {{Melocure}}'s "Agapé" (the rest of the song, and the original version of the entire song, follows the CircleOfFifths)
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None
Changed line(s) 3,5 (click to see context) from:
Usually in a [[{{tonality}} minor key]]. Runs as follows: i VI VII III . May be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant of TheFourChordsOfPop. The main difference, however, is that it ''is'' in minor, and part of its flavor is that it points toward the home triad of the relative major (III in the minor key, I in the relative major).
Examples:
Examples:
to:
Relative minor examples (i VI VII III):
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* "So Serious" by ElectricLightOrchestra (chorus)
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Relative major examples (vi IV V I):
* "So Serious" by
* {{apple41}}: "[[http://www.youtube.com/watch?v=d7y4C1MYGKU Puzzle]]", composed for {{vocaloid}} Miku Hatsune: intro and chorus
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Changed line(s) 16 (click to see context) from:
* The opening theme of ''StellviaOfTheUniverse'', "Asu e no Brilliant Road" by Angela, right at the beginning and subsequently the beginning of each refrain.
to:
* The opening theme of ''StellviaOfTheUniverse'', "Asu e no Brilliant Road" by Angela, right at the beginning and subsequently the beginning of each refrain.refrain.
* "So Serious" by ElectricLightOrchestra (chorus)
* "So Serious" by ElectricLightOrchestra (chorus)
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None
Changed line(s) 15 (click to see context) from:
* "Heart of Gold" by NeilYoung, when the harmonica comes in, and again when the voice comes in.
to:
* "Heart of Gold" by NeilYoung, when the harmonica comes in, and again when the voice comes in.in.
* The opening theme of ''StellviaOfTheUniverse'', "Asu e no Brilliant Road" by Angela, right at the beginning and subsequently the beginning of each refrain.
* The opening theme of ''StellviaOfTheUniverse'', "Asu e no Brilliant Road" by Angela, right at the beginning and subsequently the beginning of each refrain.
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None
Changed line(s) 13 (click to see context) from:
* "Heart of Gold" by NeilYoung
to:
* The theme tune of the two ''{{Ef}}'' series.
* ''FinalFantasyX'': When the main melody of "To Zanarkand" comes in.
* "Heart of Gold" byNeilYoungNeilYoung, when the harmonica comes in, and again when the voice comes in.
* ''FinalFantasyX'': When the main melody of "To Zanarkand" comes in.
* "Heart of Gold" by
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No, Barbie Girl shows I iv VII III, which is Circle Of Fifths.
Deleted line(s) 13 (click to see context) :
* "Barbie Girl" by Music/{{Aqua}}
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None
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* "Barbie Girl" by {{Aqua}}
to:
* "Barbie Girl" by {{Aqua}}Music/{{Aqua}}
* "Heart of Gold" by NeilYoung
* "Heart of Gold" by NeilYoung
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Changed line(s) 12 (click to see context) from:
** Part of [[http://www.youtube.com/watch?v=KCic3Or2gQs Jet Stingray's stage theme]], starting at 0:14, contains two instances of this progression.
to:
** Part of [[http://www.youtube.com/watch?v=KCic3Or2gQs Jet Stingray's stage theme]], starting at 0:14, contains two instances of this progression.progression.
* "Barbie Girl" by {{Aqua}}
* "Barbie Girl" by {{Aqua}}
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None
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.
Changed line(s) 10,12 (click to see context) from:
** Part of [[http://www.youtube.com/watch?v=KCic3Or2gQs Jet Stingray's stage theme]], starting at 0:14, contains two instances of this progression.
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.
to:
** Part of [[http://www.youtube.com/watch?v=KCic3Or2gQs Jet Stingray's stage theme]], starting at 0:14, contains two instances of this progression.
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.progression.
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.
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Changed line(s) 1 (click to see context) from:
Click the edit button to start this new page.
to:
Usually in a [[{{tonality}} minor key]]. Runs as follows: i VI VII III . May be hard to distinguish from its relative major key, and would in fact count as vi IV V I if in major, making this a variant of TheFourChordsOfPop. The main difference, however, is that it ''is'' in minor, and part of its flavor is that it points toward the home triad of the relative major (III in the minor key, I in the relative major).
Examples:
* The trope namer, Humoresque #7 in G-flat major. [[http://www.youtube.com/watch?v=WmAZoexenx8#t=1m19s This link]] goes to the middle section of the piece, where it most famously appears.
* From the MegaManX 4 soundtrack:
** the prologue theme in the Japanese version: YukieNakama, "[[http://www.youtube.com/watch?v=gWuHmlWn-bs Makenai ai ga kitto aru]]"
** [[http://www.youtube.com/watch?v=vse756mAMfo Storm Owl's stage theme]], which is [[IncrediblyLamePun composed]] entirely of this progression. Each loop consists entirely of 18 instances of this progression spanning two keys (A minor and C-sharp minor).
** Part of [[http://www.youtube.com/watch?v=KCic3Or2gQs Jet Stingray's stage theme]], starting at 0:14, contains two instances of this progression.
* Briefly in the first movement of LudwigVanBeethoven's [[BeethovenViolinConcerto violin concerto]], when the [[SonataForm second theme temporarily goes to minor]].
* MikeOldfield, in his famous song "[[http://www.youtube.com/watch?v=OCp57YGiEBU Moonlight Shadow]]". Listen to the first four chords when the voice comes in. Listen to them repeat.