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I'd still catch a grenade for ya (yeah, yeah)Īrum Fitri 15:41 Gitaranaja Jakarta, Indonesia Yeah, you'll smile in my face then rip the brakes out my car Mad woman, bad woman, that's just what you are, Tell the devil I said "hey" when you get back to where you're from. Oh, oh, I would go through all of this pain,īlack, black, black and blue, beat me 'til I'm numb, You know I'd do anything for ya (yeah, yeah) I'd jump in front of a train for ya (yeah, yeah) Throw my hand on a blade for ya (yeah, yeah) To give me all your love is all I ever asked, 'cause Gave you all I had and you tossed it in the trash, In Hooktheory's color notation, non-diatonic notes are labeled with hashed colors.Lyric, Kunci gitar, Chords Guitar, Kord Gitar Bruno Mars - Grenade : Often these “non-diatonic” notes create dissonance that isn’t available within the normal diatonic notes and require more care in creating a melody that is coherent. For this reason, melodies that use notes outside of the scale create an added complexity.

In either case, it’s almost certain that most of the melodies that you know by heart are based on the 7 notes in one of these scales. Whether these scales are simply cultural artifacts stemming from centuries of music doing it this way or rather they are derived from something more fundamental (falling naturally from the laws of nature) is a topic of continued debate. In “Western” music - a label that describes the bulk of popular music - melodies are based on 7-note scales called “diatonic” scales, like the Major or Minor scales. Other examples of chords that contain non-sacle tones are secondary chords, and chords with certain non diatonic alterations (#5, b9, etc.).Ī melody, at its heart, is a sequence of notes sung or played with specific timings. Using an F minor chord in a chord progression that is in the key of C major will sound more complex because our ears simply aren’t expecting it (the same is true for using an F Major chord in a song that is in the key of C Minor). If instead, we consider the key of C Minor, the 4th chord is an F minor chord. For example, in the key of C major, the 4th chord is normally an F major chord. Chords that do this are often called borrowed chords because they are using tones they’ve “borrowed” from a different scale. Our ears naturally expect to hear notes in the scale so chords with non-scale tones tend to sound more exotic and complex. The second factor we look at is whether a chord contains notes that lie outside of the scale of the song's key. Songs that have these chords in them will be judged to have more chord complexity than one that does not. Other examples of chords with extra notes are Sus2/Sus4 chords, and add9, 9th chords. 7ths are more dissonant than the 3rds and 5ths of the plain C chord, and so our ears perceive this as more complex. The nature of the intervals is changed as well C - B is called a 7th (as there are 7 notes counting from C to B along the scale), and this interval didn’t exist previously.

In addition to the intervals C - E, E - G, C - G, we now have twice as many when we add C - B, E - B, G - B. A Cmaj7 chord, for example, is similar to a plain C chord, except it has an additional note: B.

Adding notes to a chord increases its complexity because it increases the number and nature of intervals or note interactions that our ear must process.

The first is whether the chords contains additional notes beyond the 3 that form the primary chords described above. There are fundamentally two metrics that we consider when judging the complexity of a chord relative to the basic ones above.