Analysis One Emotion Forever

I don't know where you found that meter, but that is not the meter of this song. Or rather, it is this one, but the multiples are incorrect, and neither are the modulations. This is one of those pieces that modulates many times at the end of the verses and does not use the bridge to modulate.

I will provide the meter for you (for every 8 bars of 4/4 I will mark X 1, obviously its multiples x 2 will mean 16 bars)... I will mark the modulations before and after each metric cell (Before means it comes from that key, after means it goes to another key; if the same key is marked in the same metric element, it means it doesn't move, i.e., it stays in that key).

G Major - INTRO x 1 (8 Bars) - G Major

G Major - VERSE (1) x 2 (16 Bars) - D Major

D Major - VERSE (2) x 1 (8 Bars) - A Major

A Major - CHORUS x 2 (16 Bars) - A Major

A Major - BRIDGE x 1 (8 Bars) - A Major

A Major - VERSE (1) x 1 (8 Bars) - E Major

E Major - VERSE (2) x 1 (8 Bars) - B Major

B Major - CHORUS x 2 (16 Bars) - B Major

B Major - SOLO x 1 (8 Bars) - B Major

B Major - CHORUS x 1 (8 Bars) - B Major

B Major - CODA (In fade out) - B Major

As I was telling you in the other post, for all modulations it moves to nearby keys according to the circle of fifths. I don't know what your level of preparation in music theory is; in any case, if you want to start writing and haven't studied music theory, it would be a good idea to at least follow our music theory courses at THIS LINK. I am talking about the circle of fifths in the ninth lesson (Scales and keys), but if you don't have the basics, I recommend starting from lesson number 1. They are very sober lessons even if rich in content; I hope they aren't boring, also because the course is far from finished and is constantly being updated.

Best regards,

hi simon, first of all thanks for the attention....

so the meter I wrote myself, I wrote it by ear without using any rules.

- the multiples are not correct, nor are the modulations..................what does that mean? I understood the count of measures you did, yours is the correct way.... mine is just something rough. I don't understand modulations. so by modulation I mean the change of key within a song. the circle of fifths in practice shows me how if I move from a starting key by a perfect fifth, from the starting key to the new key I will have only one different note.... then if I move by a perfect fifth from the new key I will obtain another key that will have as a difference 1 note compared to the key I started from and 2 notes compared to the parent key. if I do the whole circle I arrive at the starting key but moving fifth by fifth I will always have one extra note outside the starting scale but being only one it doesn't sound out of tune, but if used well it can give me typical sounds.

I don't understand the starting keys and the respective modulations......could you explain them to me..what references did you use? thank you

Multiples of periods. In this piece, the periods are 8 bars long. For the second stanza, you marked it as two periods when it is only one period. Modulation, on the other hand, is the transition from one key to another. The piece begins in G major. Based on what was said in the other post—namely that in light music pieces it is customary to modulate to nearby keys—we can use the circle of fifths. I hope you have watched the lesson to understand what is being discussed. Starting from G major, which has 1 sharp in the key signature, the author can go to C major with no alterations or to its relative minor, which is E minor; alternatively, by going up a fifth to D major with 2 sharps or its relative minor, B minor; in fact, it modulates to D major. From where we are (D major), we repeat the same procedure: descending a fifth returns us to G major or its relative minor, ascending a fifth goes to A major or its relative minor; in fact, it rises to A major. The same analogous procedure is always repeated from the key one is currently in. In particular, Ramazzotti—though it would be better to say whoever arranged for Ramazzotti—always goes up a fifth... From the beginning, we find G major to D major, D major to A major, A major to E major, and E major to B major, where it stops until the coda. If you then want to know how to understand which key we are in, then the discussion is broader and you must know at least what a major perfect chord and a minor chord are. This is because one looks in the vocal or bass notes for the notes that compose the major perfect chord or the minor of the hypothesized key. With the score, it is much easier; there isn't even a need to hear the piece. First of all, by analyzing the key signature alterations, the remaining 28 keys are excluded, making the discussion much easier because you only have to choose whether the key is major or minor thanks to your knowledge of the notes that compose the major or minor perfect chord of that key. It is all in the theory video courses we have done. Follow them, and if you have doubts, do not hesitate to ask. But I advise you to follow them so at least you know what we are talking about; it is useless to discuss specific topics here if everything else is missing behind it...

Best regards

thanks again.......ok I understood where I went wrong.......basically I didn't notice that even if the chords are part of the G major scale, not all of them respect the major or minor mode of the harmonization of the scale in question; for example, in the first verse modulating to Dmaj, you can use Emaj which in the key of Gmaj would be min.

do you think from a harmonic point of view this piece can be defined as complex? there are 4 modulations... is that normal for a pop piece?

No no, you are getting very confused... You must follow the courses; I cannot be exhaustive by writing on the forum. Follow the theory courses starting from the first lesson. At the first difficulty you encounter, stop and ask me for clarification...

hi I watched the videos (even the ones on your site, you are very good) they are explained well but they are things I had already studied and that anyway do not deal with the subject I need. it deals with fundamental concepts to talk about harmony but I am looking for material that explains the structure of a song to me and helps me understand which scale I am in and any modulations if there are any. and that is why I posted some examples to understand where I am going wrong. I must say that there isn't much material on the internet that deals with this subject..... unfortunately everyone starts from the basics (as it should be) but then doesn't go beyond .. these topics are not treated in a practical way, perhaps by analyzing songs........the answer you could give me is to go to a teacher..... I would like to take advantage of this space to exchange opinions on pieces from a harmonic point of view with as many people as possible..... it would be very interesting :)

no one is interested ......well

I will make a video on how to recognize key changes within songs.

thanks....it would be really very interesting 🙂