Level One - Stage 1 - "Progressions"

Hello, intrepid friends! Welcome to Level One! A series of installments where I will be outline the basics of Music Theory using Japanese Role-Playing Game soundtracks.

This edition, we shall properly get into the JRPG soundtracks that you have likely been waiting for. Using the groundwork we established in Stage 0, we can start to talk about music in a communicable way.

 

Image Credit: Warped Factor

 

Today, we are going to explore the concept of Chord progressions. These are the fundamental shapes showing how the chords move from one to the next. If you feel like you need a bit more brushing-up on chords and scale degrees, feel free to visit the earlier Level One post and leave a question in the comment section.

Ready? Let's dive in! 

Image Credit: CBR

 

Chord progressions are generally notated as roman numerals in sequences of three or four, such as ii-V-I. This is generally used as the framework for a given musical phrase.

Remember the Do-Re-Mi song? Keep that in mind as we go over today's topic. A progression often used in times of triumph and overcoming obstacles. 

The "I-bVI-bVII-I" 

Pro Gamer tip: the "b" and "#" in this context indicates a note being "flat" or "sharp" respectively. This means the note is halfway between the two notes (halfway below in the case of flat, halfway above for sharp).

This chord progression should sound familiar to anyone who has played Mario or Final Fantasy. The original "Level Complete" theme from Super Mario Brothers uses this progression.

Scored with MuseScore

For a more JRPG-esque example, the "Victory Fanfare" from Final Fantasy VII also uses this progression in the first bar of the piece.

Scored with MuseScore

 

 

We hear a jaunty little jump from I-bVII-I right at the end of this one, but the main structure is the same. Do you hear the similarities?

The reason this chord progression works so well is the pull that the bIV and bVII have toward the I chord. Both of these chords are actually borrowed from C Minor, despite this being generally played in C Major. This creates a sort of tension that the ear desperately wants to resolve back down to I.

This is a simple and, dare I say, "victorious" sounding ascension that is now synonymous with overcoming adversity and claiming sweet rewards.

"But wait!" I can hear some of you saying. "'Sounds like?' Are you telling me music is all just 'vibes' and what sounds good?" And while I am simplifying and condensing these concepts for easier digestion, the answer is a resounding "yes!"

Congratulations! With that one small realization, you too are now music theorists! I just saved you four years of your life and $30,000USD. You're all-too welcome.

Image Credit: HyperAllergic

 

In all seriousness, much of our understanding of music is based on guidelines set by 17th. century Austrian-German patriarchs. This is but one of many ways to look at music, and a very western-centric one, at that. All that being said, it is the way music is understood in most of the world today, and is worth studying to some degree. 

Many arts programs are increasingly being cut in public schools, limiting access to this information. It is my hope that this small snippet of music theory encourages you to look analytically at music in your day-to-day life, and engage with others on the subject who may not have had the opportunity.

It really does come down to "vibes" much of the time! Like all art, music is a subjective medium that can be interpreted in many different ways.

That's all for today's Level One installment. Happy gaming!