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Nooooo! Key and tonic are synonyms!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
anyway, it's quite interesting this isn't it!
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
Is that to me? I'm not saying it's in g because of the last chord though. It helps, but it's 5%. And let's not forget that SHA doesn't even modulate - it just has some sections that point more to D and others that point more to G. There's got to be something else that's causing this discussion, and that something is the phrasing, not the underlying chords. As we've seen, it's possible to make it sound in both keys, hence this thread
I'm saying that those live versions are more in G than the studio version purely because of the way it's played, particularly in the 2nd half, meaning basically all the song after the Birmingham hoohoohoo bit. Every player is contributing to it. The bass is thumping out the Gs. The there are no more offbeats at the ends of the bars, no more F and C chords in bar 4, less syncopated rhythm which would have helped accelerate away from the G, the repeating chorus over and over. And those backing singers! Just relentless GG at the end. Like Exploited's Sex and Violence. And finally the icing on the cake, the last note, which doesn't come at you like some sort of interrupted cadence or modulation - it's just the finality of that G which has been driven home for half the song by then.
The first half is more ambiguous, it has cues that point to G and cues that point to D. I personally feel it's a much better half, and I prefer playing it such that D is the root. We don't stick to the letter when we play this song, we do many more of the offbeats and dotted C chords in bar 4, even during the choruses and throughout the repeats, so we make it in D all the way through. But hearing their live versions makes me realise that we've mis-interpreted the song.
Anyway gotta be off - cheers, Viz
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.
@guyboden Can you give an example mate? The tonic and the key and the I chord and the root (root chord, not root note in a chord) are all the same thing in my book. I can't think of a single example where they could ever be seen as different. If the key sig is 1 sharp, then the song is in G or E minor; and the tonic is either G or E minor. As is the I chord, as is the song's 'root'. No?
edit - Maybe you're thinking of, say, a song in E major with flattened 7ths all the way through? Basically based on a E mixolydian scale. Well, then it would still be in the key of E, the tonic and I chord and root chord would still be E, but it would have an D Natural written throughout. You wouldn't say the tonic is A just because the E has flat 7ths (if that's what you mean - I'm trying to understand where you're coming from).
Like for the blues in E, you play E7, right? And you can think of that chord as a secondary dominant when it moves to the IV. Nevertheless it's still the tonic, you don't call A the tonic. That E7 is called a Tonic flat 7, not a dominant 7, because B is the dominant.
But probably that's not what you meant anyway - sorry, just trying to understand your point.
Supportact said: [my style is] probably more an accumulation of limitations and bad habits than a 'style'.