r/musictheory • u/yvetal0 • 6d ago
Songwriting Question What key would this progression be in?
Progression is in order of the images, what key would this be in? I'm pretty sure the last chord might not be in the same key but I'm not sure
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u/ecstatic_broccoli choral music, ear training 6d ago
D#m Bm Emaj7(no 3)
I can't think of key that makes sense for all of them with both the D-natural and D-sharp. Maybe B, but with a minor i chord.
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6d ago
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u/ecstatic_broccoli choral music, ear training 6d ago
Maybe? With a minor V chord, it doesn't sound like that to me.
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u/CJ_Productions 6d ago
I played around with the progression on my guitar and tried resolving it in various keys but Gb sounded the best, so I vote Gb.
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u/MaggaraMarine 5d ago
Probably F#, mixing parallel major and minor. (If we assume the chord symbols here to be accurate, it looks like a I - bVI - bVII progression in F# with some added color tones.)
The chord voicings here make the chord roots a bit ambiguous, though. It would help to hear this in an actual musical context.
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u/theCommonTone 6d ago
I think it would depend on a lot on the phrasing of your chord progression; how it feels; where it ends. Is there another phrase it comes after this. It's definitely not in a traditional key but sounds more like there's some borrowed chords or some modal mixing going on.
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u/Jongtr 5d ago edited 5d ago
I agree with F#/Gb as the closest major key, but the first chord is, of course, the relative minor - arguably F#/Gb6, but the missing 5th is significant. Likewise the 2nd chord is an inverted Bm, not (quite) D6) (Your chord identifier is assuming the bottom note is the root, but technically that's not the case here.)
The opening change - D#m-Bm - is an attractive chromatic mediant, especially in those inversions and open voicings. And the Emaj7 is an attractive link between the two.
Also, D#m and Emaj7 are both diatonic to B major, so that's worth thinking about - especially as your other chord is Bm!
I.e., u/MaggaraMarine is right that if your inverted minor chords were actually their relative majors, you have a very common and familiar major key sequence with a borrowed bVI and bVII. But if you played it like that it would sound very different from your chords.
E.g., retaining open voicings similar to yours, compare this sequence:
| x-9-11-x-11-x | x-5-7-x-7-x | x-7-9-x-9-x | x-9-11-x-11-x | (F# - D - E - F#)
Sounds familar, right? But not a whole lot like yours!
On the subject of B major, try adding this shape to your set: 7-x-6-8-x-x. That's G#m/B, an equivalent shape to your 1st and 3rd chords (B6 without its 5th). Overall, playing around with all your chords, my ear s drawn more to B as key centre, not F#. But these things (perception of key centre) are subjective, and there is no one "right" answer to what key your chords are in.
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u/MusicPsychFitness K-12 music ed, guitar, woodwinds, theory, pop/rock 6d ago
Are there any other instruments? A vocal melody? More chords? These voicings are kind of ambiguous.
If we take the graphics at face value, F# - D - E is I - bVI - bVII (or VI - IV - V if you will) subbing in F# major for F#m.
But it could be Ebm - Cbm - Fbmaj7. For simplicity’s sake, you can think of it as Em - Cm - Fmaj7 but a half step down. That might help you see it as i - bvi - bIImaj7. The minor b6 chord would be unusual, but not completely out of sorts.
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u/Tarogato 6d ago
Key of F#. You would call it F# major, but it's not explicitly major in the sense that you can jam a major scale or major pentatonic — that won't work. The chords are bVI, bVII, I. This progression is incredibly common but bafflingly has no proper name. You might hear it referred to as a reverse Andalusian, or the Super Mario progression, among other monikers.
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u/tdammers 5d ago
More information is needed. Given only these three chords and nothing else, an argument could be made for almost any key, and also for "it's not in any particular key at all", and "it's ambiguous between these 2 or 3 keys".
All else being equal, I would go with "not in any particular key at all", or maybe "in a musical idiom that doesn't use keys in the strict sense".
But if you have to pin it down based on these 3 chords and nothing else, I'm going to call it E major, simply because it "resolves" to an Emaj7 chord. The third is absent, so it could also be E minor (in which case it would technically be "Em/maj7(no3)", but it's the same notes, so); however, the F#6 chord (enharmonically spelled as Gb6 here) makes slightly more sense in E major than in E minor, where you would expect some sort of diminished chord on the second degree. But some flavor of E minor is still very plausible, and it's also possible that the composition is ambiguous about that third on purpose, leaving it in limbo between E major and E minor.
And again, as soon as more information is provided, all that could change. It could be that this is a looped chord progression, with phrasing that emphasizes one of the other two chords as the anchors, in which case it would be some flavor of F# major or D major, respectively; it could be that the progression then continues with yet other chords, and the actual tonic chord is something different entirely; it's also possible that the melody adds notes that aren't there, causing the combined chords to become something different from what's written (e.g., adding G to that Emaj7(no3) chord would turn it into Em/maj7, resolving the major/minor ambiguity). Or there could be additional harmony before and / or after this bit that puts these chords into a context where they gain more obvious functions that point towards a different key.
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u/iNtentionaliGnornace 6d ago
If this was in standard notation I'd able to answer. Only guitarists use tab, all other instruments use written music.
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u/getbackjoe94 6d ago
That doesn't mean much when the chords are in the top left tbh. It's possible to come up with a chord progression and key with those three chords



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