5 D'Angelo Chord Changes Every Songwriter Should Know 

i was wondering if anyone else heard that.

+1 - I was dropping in here to say that exact thing.

Don’t forget epic tracks “Prayer” and “Suga Daddy”

@@karlostvall2665 not a bad track on there

Came here to type that. 😂

@@n.oneimportant5 🤣

Thank you! 😂😂😂

🤣🤣🤣🤣 I was about to comment and saw you did 🫡

How is it supposed to be pronounced?!

@@whogotdubs like “again” not like the liquor. lol

😂😂😂

I was like oh hell nah 😂

😂😂😂

you are correct

yeah i was about to say lol, d'angelo is not singing about spirits macerated with botanicals

I took a little issue with that as well...

If you listen to the chord sequence again you might begin to hear the last chord (fmajor) as the home tonic. It sounds at home aka resolved when it lands on the I chord. It's a progression that walks down chromatically and ends in the one chord.

I look at it as model interchange. The parallel minor is f minor.

Wow, now I think about it I’m sure I’ve heard that sound but do you have any examples to hand?

@@tobyzxcd you mean the descending Baseline Thing? Dear prudence, cry Baby cry, and your bird can sing, free as a bird are some examples i can think of right now

The Beatles aren't "way back" when it comes to the origin of this progression. It's called a lament bass line, more specifically a chromatic lament bass line. It goes back hundreds of years and has been used countless times.

@@BigMan-rg4mu a lot of music has happened between the Beatles and D’angelo, it’s quite a way back- even if it goes further, nobody said they were its origin - so I don’t like your tone. There’s many different ways of harmonising a lament bass, we were talking about a progression of chords with that motion in the bass. Typically the tradition that defines “lament bass” isnt chordal and thought of as more choral/figured bass in the nature of its harmonisation. It would be interesting if there’s a harmonisation/chord progression for a lament bass or descending bass pattern the Beatles had a preference for in particular. They used similar structures in while my guitar gently weeps, Lucy in the sky with diamonds, Her Majesty even, but they’re all different patterns and harmonisations- allbeit with a descending bass idea. But I wonder which was the most popular for them to use?

@tobyzxcd You could have ended your reply after the first drawn out sentence of two commas and two dashes, and I'd understand. I appreciate the half concession of the second paragraph. You seem to almost be at the finish line. Yet, the reality is you can't look up from sniffing the crotch of a bowl cut boy band to realize how defensive you were, on a comment you agreed with. Your bias is made clear when you wrote an additional two paragraphs thinking out loud about the preferred writing conventions of The Beatles. I wonder, how does Ringo like his eggs? This is an example of what you sound like. Also, there is 40 years between The Beatles and Voodoo. It's a generational difference, of western pop music. Sure, " a lot of music" happened, but it's all the same. In 1937, the most popular example of this progression was written, My Funny Valentine. This is a chordal example of a descending bass line from popular western music. A lot of music happened between this and The Beatles, but it's all the same.

Yup!

The melody seems to be centered around/built on DMaj. That's what I'm hearing anyway.

I just learned it about a month ago. I spent about 2 weeks listening to old Kool and the gang albums and recognized it

Use your ear man. The f major tonality clearly sound like "home". The other chords are literally passing chords walking down chromatically to the one chord. F major tonality can borrow chords from f minor that's why it can start on an Ab major chord and end on the fmajor chord. The last chord is the home tonic in that kind of chord progression.