musictheorystepbystep

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Music Theory for Musicians & Producers - Part 4

Track Analysis: 'Waiting For Love' by Avicii

‘Waiting for Love’ is a song by Swedish DJ and music producer Tim Bergling, stage name: Avicii, the track is produced by Avicii and Dutch producer Martin Garrix.  Vocals by Simon Aldred (lead singer of Cherry Ghost), the lyrics were written by Aldred. The track was released in May 2015 as a digital download and was first premiered at Ultra Music Festival 2015 by Avicii and Martin Garrix. 

Avicii had a strong talent for constructing melody and structuring tracks together, Avicii's club anthems ‘Waiting for Love’, ‘Hey Brother’, ‘The Nights, ‘Levels’, ‘Waiting for Love’, ‘Lonely Together’ with Rita Ora show off those skills. The ‘Levels’ track combines a pulsating, euphoric hook with a sample of Etta James ‘Something's Got a Hold on Me’ it reached platinum status in approximately 10 countries. Dancefloor anthems like ‘I Could Be the One’ with Nicky Romero and the country-tinged ‘Wake Me Up’, featuring the vocals of Aloe Blacc - both UK number one singles.  His biggest hits share similar elements of insistent, escapist house production, guest vocals to lend accessibility and depth, and great melodies.

Avicii was known for blending electronic dance music (EDM) with more traditional song structures and instruments. In ‘Waiting for Love’, this is apparent in the use of synthesizers, side-chaining (a production technique that creates a "pumping" effect), and the prominent use of drum machines. In this track the side-chaining effect creates rhythmic movement within the track, particularly during the drop or after the buildup to the chorus, where the volume of the synthesizers and bass is ducked in time with the kick drum, adding to the danceable energy of the track.

A key feature of this song is the buildup to the chorus and the drops that follow. The buildup sections use tension through filtered sounds and rising intensity in the percussion and harmonic elements. This creates an expectation, and the drop releases that tension with the full arrangement of instruments hitting at once.

‘Waiting for Love’ is a blend of emotional tension and dance energy, it uses effective chord progressions, memorable melodies, and danceable rhythms. The song balances introspective, yearning lyrics with an uplifting instrumental arrangement, making it a good example of Avicii's ability to create emotionally impactful and energetic music.

Overview

‘Waiting For Love’ is written in the key of F♯ minor and in 4/4 time it follows the chord progression of F#m/C#/D – D/E/F#m and runs at 128 BPM. 

The introduction begins in F#m, the Verses move in A major (the relative major of F# minor) but the Choruses remain in F# minor. 

The accompaniment of the verses using F# harmonic minor, the e# is driving to get to f# (the raised 7th a semi-tone away), pushing the track forward.

Instruments: Vocal, Backing Vocals, Piano, Piano synth, Bass Synth, Glock (Glockenspiel/Miramba sounding synth) synth, Wavey Synth (nasal/cor anglais sounding synth), Arpeggio Synth, Chord Synth, Swoosh, Snare drum, High Hats, Kick drum and eDrum Kit and Cymbal.

Track Reference Structure

Taking the .wav file into Ableton and from there outlining the structure of the track, showing the Introduction, Verses, Chorus and Bridge sections. Analyzing when the different instruments are played in the track and how those instruments build up to create key reference points.

Analysis Breakdown

Introduction – Bars 1 to 4

Chord Progression: F#m - C# - D – E - F#m

The piano introduction of 3 and a half bars are rhythmically strong and played loud, accented on beats 1, 2, 3 and 4 (see example below).

The bass part is also accented and the rhythmic motif (circled in the image below) is heard in key moments throughout the track, the dotted crochet, quaver pattern presents itself early, a melody motif on the chords of V, VI, I, that will be heard leading into each chorus: 

The stark, strong piano introduction of chords F# minor, C# major, D major, E major to F# minor move with purpose to Verse 1.   

Verse 1 – Verse 1-a: Bars 5 to 12, Verse 1-b: Bars 13 to 20

Chord Progressions: 

Verse 1-a: F#m - C# - D – Esus2 - F#m - C# - D – Esus2 - F#m 

Verse 1-b: F#m - C# - D – Esus2 - F#m - C# - D – Esus2 - F#m

Verse 1 is in two blocks of 8 bars (verse 1-a, Verse 1-b). The same chord progression from the introduction is used for the entire verse. Throughout the verse the ‘kick drum’ is beating out a consistent 4 crochets to the bar.  

Breaking the verse down to Verse 1-a, it begins off the beat (after the 3rd beat, bar 4) and continues for 8 bars, the 2nd part of Verse 1-b is a repeat except for a slight change of rhythm in the vocal to fit with the lyrics.  

Verse 1-a vocal is accompanied by chords played on a synth.  

Verse 1-b is elaborated with a new sound, an ‘arpeggio synth’, fast moving notes of raising 5ths and octaves, added to this are electronic drums.  The verse exits with a ‘swoosh’ sound and the distinctive return of the motif of dotted crochet, quaver rhythm in the final bars to the chords of V, VI, I, leading into the chorus. 

Chorus 1 – Chorus Vocal 1-a Bars: 21 to 28, Vocal 1-b Bars: 29 to 36

Chord Progressions: 

Vocal 1-a: D – A - F#m - D – A - F#m – D – C#m – D – D – A – Bm – F#m – D – A – Bm – E - E

Vocal 1-b: D – A - F#m - D – A - F#m – D – C#m – D – D – A – Bm – F#m – D – A – Bm – E – E – D

We can see from the chord progressions above and the introduction of new chords, A, C#m and Bm that there is more movement and buildup. The mood is lower, the vocal melody nearly an octave lower than the verse. The lyrics begin to tell the story ‘Monday left me broken…’

The Chorus 1-a of 8 bars starts strong on the first beat of the bar.  Both the ‘chord synth’ and the Piano support the vocal melody for the 16 bars of Chorus 1-a and Chorus 1-b. Chorus 1-a ends with a Swoosh into Chorus 1-b.

Chorus 1-b is built up by a low ‘bass synth’ that mirrors the vocal line, it creates a driving atmospheric undertone.  The piano part in Chorus 1-b is strong and rhythmic similar in style to the piano introduction.

Bridge 1 – Bars: 37 to 40

Chord Progressions: D - F#m 

We enter the bridge section with ‘snare’ and ‘swoosh’. This section has the effect of standing still in reverb.  The sounds are different with voice echo and reverb effects, the ‘swoosh’ sound is reversed with a long reverb moving up in frequency ending with a strong release.  A rhythmic crochet beat with reverb leading into an instrumental Chorus of a very different sound.

Chorus 2 Instrumental – Chorus 2-a Bars: 41 to 48, Chorus 2-b Bars: 49 to 56, Chorus 2-c Bars: 57 to 64

Chord Progressions: 

Instrumental 2-a: F#m - C#sus4 - D – Esus2 - F#m - F#m - C#sus4 - D – Esus2 - F#m

Instrumental 2-b: F#m - C#sus4 - D – Esus2 - F#m - F#m - C#sus4 - D – Esus2 - F#m

Instrumental 2-c: E - F#m - C#sus4 - D – Esus2 - F#m - F#m - C#sus4 - D – Esus2 - F#m

Same melody as Chorus 1 played on two different sounding synths.  This time the chord progressions are those of the Verse (and not of Chorus 1), this dissonance adds to building ‘the drop’.

Chorus 2-a is a bright synth sound, ‘glock synth’ and is accompanied by the ‘chord synth’.

Chorus 2-b repeats the melody of Chorus 2-a, this is the beginning of the ‘the drop’, the ‘glock synth’ is replaced by a wavey more prominent synth sound, the ‘snare drum’ pulse begins with a crochet beat, establishes itself, then doubles to quavers, with all percussion instruments onboard it beats out a semi-quaver pulse, the ‘swoosh’ is introduced as the music makes its way to ‘the drop’.

Chorus 2-c establishes ‘the drop’ the ‘wavey synth’ is in full swing supported by a long ‘swoosh’, ‘snare’ on semi-quavers and ‘Kick drum’ to pulse out the high point of the piece.  Chorus 2-c ends with a one bar rest for all instruments, heading into Verse 2.

Verse 2 Vocal – Verse 2-a Bars: 65 to 72

Chord Progressions: 

Verse 2-a: F#m - C# - D – Esus2 - F#m - C# - D – Esus2 - F#m 

The Vocal is back, the fast notes of the ‘arpeggio synth’, ‘chord synth’, ‘kick drum’ and ‘electronic drum kit’ accompanying the vocal, ending with the same dotted crochet, quaver motif as Verse 1.

Chorus 3 Vocal – Chorus 3-a Bars: 73 to 80, Chorus 3-b Bars: 81 to 88

Chord Progressions: 

Vocal 3-a: D – A - F#m - D – A - F#m – D – C#m – D – D – A – Bm – F#m – D – A – Bm – E - E

Vocal 3-b: D – A - F#m - D – A - F#m – D – C#m – D – D – A – Bm – F#m – D – A – Bm – E - D

Chorus 3, the Vocal is a repeat of Chorus 1, accompanied by the ‘Chord synth’ and strong piano, ending with the ‘swoosh’ leading into Chorus 3-b.  

Chorus 3-b uses the ‘bass synth’ mirroring the vocal melody, ending with a ‘swoosh’ that leads into the Bridge.

Bridge 2 – Bars: 89 to 96

Chord Progressions: F#m - C# - D – Esus2 - F#m - C# - D – Esus2 - F#m

This bridge section is longer than the last Bridge, it begins with a long ‘swoosh’. The echo of the voice rings through.  The ‘glock synth’ plays the chorus melody and the arpeggio and chord synths accompany, this bridge section is preparing for the buildup to ‘drop 2’. The chord progression is the same as the Verse.

Final Chorus 4 Instrumental – Chorus 4-a Bars: 97 to 104, 4-b Bars: 105 to 112, 4-c Bars: 113 to 123

Chord Progressions: F#m - C# - D – Esus2 - F#m - C# - D – Esus2 - F#m X 3 times

Same Instrumental chorus melody played on the ‘wavey synth’ and supported with ‘electronic drum kit’. The chord progression is the same as the verse.

Chorus 4-a builds ‘drop 2’ as it begins with the ‘wavey synth’ accompanied by the ‘snare’, with strong crochet beats building up to quavers, ending with a ‘swoosh’ and the dotted crochet, quaver motif leading into 4-b.

Chorus 4-b builds ‘drop 2’ into Chorus 4-c, the ‘wavey synth’ adding tension as it plays an octave higher, supported by a long ‘swoosh’, ‘snare’ and ‘Kick drum’ pulsing out the high point of the piece.  

Chorus 4-b and 4-c have the added effect of the low ‘bass synth’ adding to the hype of ‘drop 2’.  The piano comes in for 4-c, all instruments building to the final bars of the track, ending with the strong memorable motif and a swoosh!

Thank you for reading my Music Theory Blog.

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Music Theory for Musicians & Producers - Part 3

Rhythm

Bar lines are vertical lines that cross staves in order to show how music is divided into bars, according to the time signature.

Note Values

Note values tell us how long to stay on a note and how long to rest/not play. A time signature on a piece of music will tell you what time that piece of music is in. Music can also change time signature throughout the piece. Common note values include the whole note, half note, quarter note, eighth note, and sixteenth note (and smaller). Common rest values include the whole rest, half rest, quarter rest, eighth rest, and sixteenth rest. A dot beside a note increases the duration of a note by half. A lot of the music we listen to has 4 beats in a bar. 1 whole note is = 4 so there are 4 in a bar 2 half notes = 2 beats, so there are 2 in a bar 4 quarter notes = 1 beat, so there are 4 in a bar. 8 Eight notes = ½ beat, so there are 8 in a bar. 16 Sixteenth notes = ¼ beat, so there are 16 in a bar. There are also 32nd and 64th but they are less common.

A dot beside a note increases the duration of a note by half.

Rest Values

Rests play a key part in creating and maintaining the rhythm and melody for a piece of music.

Time Signatures

Time signatures, or meter, are the notations in sheet music that guide the rhythmic structure of a piece. They appear at the start of a piece of music, with the clef and key signature, to let musicians know how to count before they start playing. They give instructions on how to divide and feel the rhythmic pulse of a tune ensuring written sheet music sounds as intended.

Sheet music is split up into bars. Each bar of music is shown by bar lines which help musicians visualize and divide the piece into chunks and phrases. As mentioned above, bar lines are vertical lines drawn through the staff and contain a set number of beats dictated by the time signature. When reading a time signature, the top number of a time signature tells you how many of a certain type of beats there are in a bar. The bottom number denotes the value of those beats. For example 4/4 means four quarter notes in a bar. Just like a fraction.

“C” time signature If you see a “C” at the beginning of your sheet music. This is just another way of representing the 4/4 time signature. The “C” stands for “common time,” reinforcing just how ubiquitous this time signature is. It’s the same four beats per measure, with the quarter note getting the beat.

Example of 4/4 piece: “One Love” by Bob Marley is a classic reggae song that speaks to the power of unity and peace. The production is rootsy and authentic, with classic reggae instrumentation, including a bouncy bassline, bright horns, and shimmering keyboards.

Example of 4/4 piece: “Hey Brother” is a popular electronic dance music (EDM) track by the Swedish DJ and producer Avicii. The song features a catchy melody and upbeat rhythm that is characteristic of Avicii’s signature style.

2/2 time signature 2/2 time signature, also known as “cut time” or “alla breve.” This time signature has two beats per measure, with a half note equivalent to one beat. It “cuts” the common time in half. It’s common in faster pieces as it allows musicians to read and play rapid passages more easily due to larger, easier to read, values of beat divisions. It sounds almost the same as 4/4 except it has a stronger accent on the 3rd beat of each measure (the second half note).

Example of 2/2 time is the well know song by Bob Dylan, ‘Blowin’ in the Wind’.

2/4 time signature The 2/4 time signature is another frequently seen time signature, featuring two beats per measure, with the quarter note getting one beat. A lively time signature that is particularly popular in polkas, marches and other dance music genres.

3/4 time signature This time signature gives us three beats per measure, with the quarter note getting one beat. It is the signature behind the graceful waltz and many folk and pop songs. If you count a rhythmic one-two-three, one-two-three, that is the sway of the 3/4 time. This time signature relies on an accented first beat followed by two active beats, giving this time signature its distinctive sway.

Irregular time signatures While the common time signatures lay the foundation for much of the music we hear, composers often employ irregular time signatures to create unique rhythmic textures. These unconventional signatures, often featuring odd numbers of beats, inject an unexpected twist into the rhythm, keeping listeners on their toes. See below for some of these time signatures.

5/4 time signature The 5/4 time signature stands out in the world of rhythm with its unique structure. This time signature boasts five beats per measure, with the quarter note getting one beat. It creates an odd, uneven rhythm that can be broken down into subgroups, often as “3+2” or “2+3”, depending on the musical context.

One of the most famous pieces in 5/4 is the jazz standard “Take Five” by Paul Desmond and performed by The Dave Brubeck Quartet.

Compound time signatures Compound time signatures are characterized by a top number that is divisible by 3, creating a ‘triple feel’ within each beat. Let us take a look at some common compound time signatures.

6/8 time signature Starting off with the 6/8 time signature. This signature has six beats per measure, with the eighth note getting one beat. Rather than feeling like six separate beats, it typically has a ‘two-beat’ feel, with each beat dividing into three smaller beats. It is often counted as “ONE-and-a, TWO-and-a. 6/8 is a popular time signature in many music genres, from classical symphonies to rock anthems. It is the time signature behind the Irish jig and many other traditional dances.

Five Years, the opening track of David Bowie’s iconic album 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars', is a powerful song that showcases Bowie’s storytelling prowess. Set in a 6/8 time signature, the song creates a sense of urgency and drama, fitting for its apocalyptic narrative. Bowie’s emotive delivery and the song’s dynamic arrangement — building from a gentle start to a powerful climax — make Five Years a compelling and unforgettable track. The 6/8 rhythm adds to the song’s intensity, driving the narrative forward with a sense of inevitable progression.

Section Markings in Music

There are a number of markings in music, see below for a list of explanations. The video below, gives a clear step through of the different signs and shows how the signs are used within different pieces of music.

The following video goes through the different section markings in sheet music.

Lead sheet showing Music Theory examples

See below Lead sheet created in Ableton as a midi file, transferred to MusScore to translate the midi format into musical notation. The piece is ‘Let it Be’ by John Lennon & Paul McCartney, in F major, 4/4 time. Included on the lead sheet are examples of the music theory covered in this Blog.

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Music Theory for Musicians & Producers - Part 2

Intervals

• An Interval is the relationship between any two notes. • An Interval has two parts: 1. Distance & 2. Type

1 Distance

2 Type The intervals (distance and type) are the same in all major keys.

The intervals (distance and type) are the same in all minor keys i.e. Unison, 2nd, 3rd, 4th, 5th,6th ,7th, Octave. But the type changes for the 3rd, 6th and 7th because a minor interval is a half-step smaller (semitone) than a major interval (two half steps, a tone).

Watch the following video on intervals.

Chords In music, a chord is a group of three or more notes played simultaneously, typically consisting of a root note, a third, and a fifth. Chords are the building blocks of harmony and form the harmonic foundation of a piece of music. A triad (3 notes) is made up of a Root, 3rd and 5th.

Different Types of Chords in C Major The three most common chords used in key of C major are the I chord, or tonic, which is built on C, the IV chord, or subdominant, built on F, and the V chord, the dominant, built on G: I chord (C major triad): C – E – G IV chord (F major triad): F – A – C V chord (G major triad): G – B – D

Another chord you’ll see used a lot with the C major piano scale is the vi chord, the A minor chord, which is the tonic/root chord of the relative minor key, A minor: vi chord (A minor triad): A – C – E Other chords in C major include the ii chord, a minor chord built on D, the iii chord, another minor chord built on E, and the vii chord, a diminished chord built on B. ii chord (D minor triad): D – F – A iii chord (E minor triad): E – G – B vii chord (B diminished triad): B – D – F

Check out ‘Let it Be’ in F major by the Beatles.

An example of a C major key is Hallelujah by Leonard Cohen.

Take a look at the chord progressions of the track 'Hallelujah', the key signature and time signature or search for your favourite song in this website and see what chord progressions are used.

Modes

A music mode is a collection of notes following a distinct order that work in harmony. There are 7 modes in music and they go way back to Middle Age times when medieval kings wanted to hear a tune from a lute, at that time the songs were built on music modes. Modes continue to influence the music we listen to today.

The 7 Modes

Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian.

Ionian Mode The Interval sequence is: T–T–S–T–T–T–S, same as a Major Scale C Ionian example: C–D–E–F–G–A–B–C It’s a good mode to use when you want to convey a happy-go and worry-free emotion, perfect for pop and other genres. Example Mozart Concerto in C major:

Dorian Mode Commonly used in many famous tracks, it’s also a music mode popular in film scores, creating soundtracks that both sound massive and intriguing. Interval sequence: T–S–T–T–T–S–T D Dorian example: D–E–F–G–A–B–C–D The Dorian mode is very similar to D minor, which sounds rather sad. But even though it sounds a bit sad, there is hope of something better to come. Example Daft Punk, ‘Get Lucky’:

Phrygian mode The Phrygian mode is dark. On the brightness scale, it conveys a worrying presence of doom with a dash of gloom. Popular in metal music, it's the mode that many distorted black metal guitar riffs play in, giving a sense of despair. Interval sequence: S–T–T–T–S–T–T E Phrygian example: E–F–G–A–B–C–D–E Example Prologue, Lord of the Rings:

Lydian Mode The favuorite of renowned rock stars like Steve Vai and film composers worldwide. When you want a sound that is dreamy, heaven-like, and mysterious, while still keeping the happy and quirky harmonics, the Lydian is the way to go. Interval sequence: T–T–T–S–T–T–S F Lydian example: F–G–A–B–C–D–E–F Example Elliot Smith Waltz 1:

Mixolydian Mode Used by everyone from Grateful Dead (Dark Star) and Lynyrd Skynyrd (Sweet Home Alabama) to Bob Dylan (Lay Lady Lay.) Prevalent in pop and rock music. Interval sequence: T–T–S–T–T–S–T G Mixolydian example: G–A–B–C–D–E–F–G The Mixolydian mode morphs happiness with a more serious tone. As you will hear in the song examples above, the music makes you feel good, but still keeps you on your toes. It makes you think, which is why many psychedelic artists love this type of sound, like the Grateful Dead. Example Grateful Dead, ‘Dark Star’:

Aeolian mode Is identical to the natural minor scale, making it naturally sad sounding. This is a widespread mode among musicians with more heart-breaking songs in natural minor. Interval sequence: T–S–T–T–S–T–T A Aeolian example: A–B–C–D–E–F–G–A Bob Dylan, ‘All Along the Watch Tower’:

Locrian mode Used lease of all, conveying evil and darkness. However, recorded uses are mostly in obscure metal genres, looking to take the listener deeper into heaviness. There are also some examples in classical music, and you can listen to one of them below. Interval sequence: S–T–T–S–T–T–T B Locrian example: B–C–D–E–F–G–A–B Example Rachmaninoff, Prelude in B minor:

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Music Theory for Musicians & Producers - Part 1

Welcome to Music Theory Step by Step, here we will go through the basics of music melody, harmony and rhythm and how those elements gel together to create a piece of music.

We will begin with Melody and harmony, learning the names of the notes, where they are on the keyboard and why they sound the way they do. Next Rhythm, how it is structured and how it drives the melody and harmony making the music come alive.

Melody & Harmony

The piano keyboard consists of 88 keys and contains 12 unique pitches that repeat across the entire keyboard. These 12 unique pitches are made up of the following notes: A, A#, B, C, C#, D, D#, E, F, F#, G, G#

They repeat in a pattern across the keyboard, so after the 12th note (G#), the next note is the same as the first (A), a higher octave.

We use the seven letters of the alphabet to name the white keys on the keyboard in this example starting on the note: C – D – E – F – G – A – B

Stave, Clefs & Notes

A stave is a place to house the notes, it has 5 lines and 4 spaces. Notes are placed on the lines and in the spaces.

A Clef lets you know the names of the notes to play on the stave. The notes written with the Treble Clef (or G Clef) stave are notes above the middle C note. Each note on the music stave represents a different pitch. The higher the note on the staff, the higher the pitch.

You can see from the piano below that ‘Middle C’ is the 4th ‘C’ note on a standard piano. It is called ‘middle C’ because that is the closest C to the middle of a piano. There are 8 ‘Cs’ on a standard piano key board, with Middle C in the middle.

The names of the space notes on the Treble Clef are F A C E & the line notes are E G B D F.

A good way to remember the notes in the spaces is: FACE.

For the notes on the lines: Every Good Boy Deserves Football.

Bass Clef

The other important Clef is the Bass Clef (or F Clef).

Musical notes written on the bass staff are notes below the middle C note. These notes below middle C are played by the left hand on a piano keyboard.

A good way to remember the notes in the spaces is: All Cows Eat Grass. For the notes on the lines: Good Boy Deserves Football Always. See below to see where the notes on the Treble Clef and the Bass Clef are located on the piano. Middle C, is on a ledger line, which is a short line used as an extension of the stave.

Key Signatures & Scales

Tones and semitones

In music theory, the distance between two notes is called an interval. A half step is the distance between two adjacent keys on a piano keyboard. A half step is known as a semitone it is the smallest musical interval in music. C to C# is a half step. A whole step is the distance equal to two half steps and is known as a tone. C to D is a whole step, a tone.

Scales A scale tells us what key a piece of music is in, in other words what notes will be used in the construction of its chords and melody.

Sharps & Flats A sharp ‘#’ raises the note by a semitone, for example C is raised by a semitone to become C#

Sharps and flats are arranged on the stave straight after the clef to let you know what key the music is in. We can see that the key signature of G major has one #, F#, that means that every F that is played is played as an F#.

Major and Minor Keys Each Major key has a relative Minor key. To find the relative minor key count up 5 letters, for example C Major (C D E F G A) up 5 letters is A Minor. The keys are related by having the same key signature. C major has no sharps and no flats, and A minor has no sharps and no flats.

Those related keys are known as the circle of 5ths. In the example below the Major key is on the outer circle and the related Minor key is on the inner circle. The rhyme to remember all the sharps: Father Charles Goes Down And Ends Battle. For the flats the same rhyme but in reverse Battle Ends And Down Goes Charles Father.

Step through Major & Minor Keys Click on the video for a step through major and minor keys.

Listen to the Major and Minor chords, how do they sound?

Sting’s “Shape of My Heart” in A minor, with intricate guitar work and introspective lyrics. The song’s melancholy tone and lyrical content make it a standout in Sting’s solo career. The song was co-written by Sting’s long time guitarist, Dominic Miller, and features harmonica played by Larry Adler. Example of A minor song.

Amy Winehouse’s “Back to Black” is a soulful track that uses the A minor key to convey themes of heartache and loss. The song’s retro vibe and emotional depth have made it a modern classic. “Back to Black” was the first song Amy Winehouse wrote and recorded for her second album, inspired by her split with boyfriend Blake Fielder-Civil and produced by Mark Ronson. The song’s title and theme use “black” as a metaphor for depression, and it features mournful strings and a retro musical backdrop inspired by 60s girl-group pop and Phil Spector’s wall of sound. Example of A minor song.

Hozier's ‘Someone New’ in C major has a warm, uplifting mood that feels rich and melodic. The key of C major, known for its pure and straightforward sound, enhances the song's sense of hope and longing, blending with Hozier's soulful vocals and reflective lyrics.