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Chords To 1300 Songs Analyzed Statistically For Patterns
First time accepted submitter hooktheory writes "We looked at the statistics gathered from 1300 choruses, verses, etc. of popular songs to discover the answer to a few basic questions about pop music. First we look at the relative popularity of different chords based on the frequency that they appear in the chord progressions of popular music. Then we begin to look at the relationship that different chords have with one another. To make quantitative statements about music you need to have data; lots of it. Guitar tab websites have tons of information about the chord progressions that songs use, but the quality is not very high. Just as important, the information is not in a format suitable for gathering statistics. So, over the past 2 years we've been slowly and painstakingly building up a database of songs taken mainly from the billboard 100 and analyzing them 1 at a time. At the moment the database of songs has over 1300 entries indexed. Knowing these patterns can give one a deeper more fundamental sense for how music works" This reminds me of the work done by two Rutgers grad students last year trying to find a formula for a hit song.
Just what we need, a database for the RIAA to use to play Whack-A-Mole on upcoming songwriters for 'copyright infringement'. There are only so many chord progressions possible. This will allow the holders of the eternal copyright to sue somebody because the chord progression they wrote mirrors a song their grandparents heard in the womb and thus infringes.
Yet another argument for 7 year copyrights. Too bad we can't convince our Congresscritters of this...
Understanding the scope of the problem is the first step on the path to true panic.
Don't need no computer analysis for that.
http://www.youtube.com/watch?v=5pidokakU4I
BTW, the reason for the popularity of many chords (or lack thereof) is likely because so much pop music is guitar-centric. An A major chord would only be common if you're playing in D major, E major, A major, or sometimes in D minor (with a raised 7th).
You'll notice that D, major, A major, and E major are the 5th, 6th, and 7th most popular keys. And although D minor is the 4th most popular key, not all A chords in D minor are going to be major chords.
I would also expect the probability of moving from any given chord to another would be strongly correlated with the standard chord leading rules, assuming you analyze them with numbered chord notation rather than by the actual note names. Certain chords naturally follow other chords, and although you don't have to always use such pairs in that order, good composers will tend to do so the majority of the time.
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Watch it on YouTube.
Ant(Dude) @ Quality Foraged Links (AQFL.net) & The Ant Farm (antfarm.ma.cx / antfarm.home.dhs.org).
The science fiction author Charles Sheffield wrote a story about a similar idea in the late 1970s called What Song the Sirens Sang. The protagonist is a journalist investigating a politician who has come seemingly out of nowhere and is about to be nominated for president. He discovers that the secret to the politician's success is that he has developed a theory of communications that allows him to combine words and music to evoke optimum emotional responses. Check it out, it's a short read and very good.
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Anyone who had good formal music training should know that chord function is not identical with chord progression, and function may vary from style to style. Also that different styles of music vary along different parameters. Expecting a brave new chord progression in most styles is silly. And, in those styles where you're supposed to expect "original" chord progressions like prog rock, they usually turn out to not be all that original in the big picture.
If variation is all you want in music, white noise is provably the perfect kind of music for you.
The current state of music is that it's more diverse and plentiful than ever.
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Yes, I would agree, my Minor was in music, and in Music theory classes, they gave us a list of the Bach Approved Cord Progressions.
This has been the gold standard in Western Music for hundreds of years. Too much variations of this will sound unmusical to western ears. Popular music is about being familiar, It has been for a long time, so popular music will not stay away from the familiar. That is why professional musicians can just jam with a brand new song, by hearing where the song is and where it has been, they know where it is going to go.
When you "Break The Rules" which you are allowed to, use need a good reason to do so. Give music that extra spice, but it is akin to a jalapeno on a burger, vs. just eating a plat full of jalapeno's (if you break the rules for no good reason)
The Tonic (I cord)
and the Dominate (V Cord) are usually always work with each other. The Subdominate (IV cord is sometimes used too, because it is the inverse of the Dominate). The Submediant (VI Cord) is the natural minor code with the same key Signature of the Tonic cord.
Now the Supertonic (II Cord) is often due to a secondary dominance (The V cord of the V cord) Or used to move to a minor function from a Subdominate(IV cord).
The Mediant (III Cord) and Leading tone (VII Cord) are used very sparingly. Primarily because the Median and the Leading tone, are key notes in letting the listener know what mode the music is in Major or Minor (The VII also can tell if you have a Natural Minor or a Melodic Minor). So these notes are usually reserved to give the music its feel, and not be the boring job of being a Cord Root. Now you may see the III and VII cord in music, however they are often not really a III or VII cord anymore, they are part after a key change in the music (often due to Secondary dominance) and sticking to the new key, for a while (now the music may have a new key signature, or just more accidentals in that area).
If something is so important that you feel the need to post it on the internet... It probably isn't that important.