[Intro] Dm9 D7(♭9) Gm Em9 /A Aaug7 [Aメロ] Dm9 D7(♭9) 掻っ攫った 圧巻でらした あらら 世は実に易し Gm Em9 /A Aaug7 信じ切った 安心し切った あたた 深き喜び Dm9 D7(♭9) 戦うは なぎ倒すは か弱い己自身さ Gm Em9 /A Aaug7 B♭/C やり切って 胸はって綺麗に散るのさ〜 [Bメロ] B♭/C B♭m/D♭ みんなほんまよーやるわ めっちゃがんばっとるわ Dm9 D7(♭9) わしかて負けんよーにな ひそかに何かと努めるわ Gm G#dim7 なんも無くたっていいや 結果なんぞかったりーわ Em9/A Aaug7 Better sit back Take a deep breath And you'll know… [サビ] Dm9 D7(♭9) You've been workin' hard Workin' hard Maybe you don't understand But I know that you're Gm9 Workin' hard Workin' hard Wish I could give you a hand Baby, you've been B♭/C(♭9) workin' hard Workin' hard Trust the process and be brave You've been FM9 B♭M9 Em9 /A Aaug7 workin' hard God, you've been workin' hard
Thank you so much for your video! I'm still a bit confused about the chords of part one. Does it have a key change? I understand the secondary-dominant concept but since D7(b9) is VI and Gm9 is I , there's supposed to be a II to form the II - VI - I progression. But there's Dm9 on the position of II. That's my question 1. Question 2 is because I saw there're many notes in Em9, Aaug7 not belonging to D minor scale so I'm wondering how it can be possible in a song? Sorry I'm still learning music theory so I'll highly appreciate it if you can explain a bit more!
@Dr.KaitoTomita Жыл бұрын
Secondary dominant causes a partial modulation: if D7 (♭9) is the secondary dominant, the key temporarily goes from D minor to G minor, V(D7) - i(Gm); if you capture that in the key of F major (D minor), it is VI(D7) - ii(Gm). In this case, it is not two-five-one, so the II is not necessary. As explained in the video, Em9 is a borrowed chord from D Major. Therefore, it sounds bright. As for Aaug7, the component notes belong to the D minor scale.
@Winterfollies7 Жыл бұрын
@@Dr.KaitoTomita Now I can totally understand! Thank you for your kindness for explanation and I'm learning a lot from your channel. Keep going!