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I have been playing guitar in bands a lot, never wrote songs, never understood music theory. Now that I am fifty and dive into writing songs and trying composing, and see all this self teaching stuff on the internet I wonder what if the internet would have existed when I was younger? My deepest admiration for all those great bands and the minds behind them. What looked so easy and accidental on MTV in the late 80ies and 90ies was in fact hard work and endless practice.
When writing in the key of C minor the Eb could be swapped with an Ebm chord, or the Ab with an Abm chord. This “turn every chord into a minor chord” approach is one of the secret weapons behind Depeche Mode’s signature sound and what I’ll explore in these next seven examples from Depeche Mode’s discography. Depeche Mode like to compose in minor keys; if you’ve listened to any of their post-Speak and Spell albums then this shouldn’t come as a surprise.
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?VIm examples we’ve seen, only the VI chord is a semitone higher than it usually is in a minor key. The approach here seems to be more about composing with unrelated minor chords rather than worrying too much about whether they fit with the theory. The A#m chord sounds cool in relation to the C#m chord and if analysed with modal theory carries a Dorian sound.
Abm
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Writing chord progressions in Roman numerals is useful for music theory analysis because it decouples the chord progression from the key. For example, the popular I–V–VIm–IV progression will have the same theory behind it whether it’s played in the key of C, the key of Ab or the key of F#. Roman numerals make it clear where different songs use the same chord progressions, even if they’re in different keys. This article focuses solely on Depeche Mode’s songwriting, looking at seven Depeche Mode songs and analysing the music theory behind their chord progressions. I’ll also look at how they craft their melodies to fit in with their more unusual chord progressions.
Etsy is no longer supporting older versions of your web browser in order to ensure that user data remains secure. All lyrics are the property of their respective authors, artists and labels. You’re confusing two different styles of harmonic chord writting.
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This is another example of modifying the melody scale to fit out-of-key chords. Behind the Wheel takes the complexity up a notch, with two borrowed minor chords that take the tonality far away from the root home chord. The first two chords are Bm
An when writing melodies, often you only need to change one note to make it fit over the borrowed chord. The verse of one of Depeche Mode’s most well-known tracks, Enjoy the Silence, uses a similar minor chord trick. The song is in the key of Cm, and diatonically the Eb chord would be major, with a G? as the third.
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