Are there even any chord changes in this song?

[Yumid]

Im analyzing this song and Im just getting done the drop. When the drop was based around one consistent note I realized there aren't any chord changes yet. And if there are id love to know about them because it means I missed them.

I hear the main melody motif. Then the single note mashing on the drop. The baseline during the verse is just overdubbing certain parts of the main motif so obvious the melody was made first and the baseline was made after over top. But are there any chords used at all? No pads or arps that I'm hearing.



Tristam-Flight

 

[bandcoach]

sounds very much like something I wrote years ago now

F#m-E-D-E

F#m-E-Bm-C#m towards the end

 

[Yumid]

sounds very much like something I wrote years ago now

F#m-E-D-E

F#m-E-Bm-C#m towards the end

thanks but now I'm even more curious, where you you hearing that? I guess when I'm listening for chords I listen for the obvious stuff thats easy for beginners to recognize. Arp patterns/bassline/pads..but I dont hear anything representing chords in this song?

the only thing can think of Is the main lead that plays throughout being polyphonic and I just cant hear it? Im more trying to find out because I'm interested in his mindset and workflow when he wrote the song.

Ive been assuming he probably made that main melody first, then drums, the bass over the melody(just based on how the bass is programmed in relation to the melody), then unlike most edm songs I think he actually made his drops last in this one. Thats just me randomly guessing based on how I think it would be most productive to make this song. It seems like the entire thing is based around the motif he brings in right from the very start. Not chords, which I would assume an entire song would be based around(chords)? SO which brings me back full loop, how exactly are you determining what the chords are? Is there actually something you can hear, or are you harmonizing the melody based on what you think the chords should be?

 

[bandcoach]

the chords are implied by a combination of the melody and the bass line: it is the two independent lines that outline the progression; bass movement is crucial to understanding which chords are available and then the melodic line defines what is possible

i.e. the melody is not polyphonic nor is the bass but together tenth create a duophony that can imply the required harmonisation

first chord is obviously minor and the following two chords are the traditional bVII-bVI movement down from i, e.g.

i-bVII-bVI-bVII-

and

i-bVII-iv-v- are the progression without reference to a specific key

if you hear/play these types of progressions often enough you can hear them in new works where they are not so apparent ....

chances are the chords were in place to begin with and the melody was created based around them that they were not used in any obvious form is simply down to choosing to allow the implication of the chords to come through rather than blast them into your consciousness

 

[Yumid]

chances are the chords were in place to begin with and the melody was created based around them that they were not used in any obvious form is simply down to choosing to allow the implication of the chords to come through rather than blast them into your consciousness

got it, that makes perfect sense. Ive assumed this before when Ive ran into situations like this. So basically there were chords as a template but he just used them as a template then got rid of em once everything else was built. That makes the process seem a lot easier/structured for actually composing, thats what I was trying to figure out. Thanks.

Everything keeps pointing back to me needing more piano/song practice.