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"Passionfruit" sounds nothing like "Marvins Room" and only shares a four-on-the-floor beat with "Hold On." But it carries a legacy from those songs in its use of chords to create a fully-formed emotional environment that can be carefree to one listener, wistful to another, and romantic to yet someone else. The message is clear: these songs are for sex. Songs like Barry White's "I'm Gonna Love You Just a Little Bit More Baby" and Evelyn "Champagne" King's "Love Come Down" ride supertonics for at-times extended lengths, creating a more simmering sense of rest that feels more erotically charged than just using a subdominant. These genres borrowed the use of this chord from jazz and its crucial "2-5-1" progression, which some of the songs from the era end up using. "Hold On We're Going Home" one-ups both these songs by beginning on a second chord or "supertonic" (in this case, B-minor in the song's key of A major), which is an uncommon move in modern pop but a universal trope in the funk and quiet storm R&B of the 70s and 80s. It's the perfect drunk-texting saga because those chords tell a story by themselves, from the initial hesitation, to anticipating the reply, to the crush of Drake realizing his lover's really moved on before he ultimately crashes in a bed somewhere. "Marvins Room" begins on the subdominant of F major, arrives at the dominant of G major to urge for a resolution, then lands on a sad A minor before resolving, blissfully inebriated, on the tonic of C major. That's what makes them a different breed of pop, capable of appealing to many different states of mind at once.ĭrake has done this before, too.
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#Barry white never gonna give you up chords full#
Think about tracks like "Call Me Maybe," or the immortal example of Katy Perry's "Teenage Dream." They start on the subdominant and, objectively, these songs aren't grounded, they're full of possibilities and places to go for their respective runtimes because they never resolve to their tonic or do so very briefly.
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From here, the chord can descend to the song's major tonic or ascend to its minor, and that can communicate a myriad of feelings, more so than beginning on those chords. the subdominant) is a powerful chord because it's a launching point to any emotional direction. Chords of this type feel ultra-relaxed, and are responsible for that summery, poolside cocktail vibe that everyone cites in the specific case of "Passionfruit." This isn't a special move for one, dance music likes to use these jazz chords for their sense of cool, and two, the use of fourth chords is so common in pop as to be a cliche. Namely, the chord progression for "Passionfruit" begins and ends with an E major seventh (the fourth, in the key of B major). They feature seventh extensions, common in soul (see: Marvin Gaye's "What's Going On") and less obviously "happy" or "sad" than natural major or minor chords. Each of those chords aren't regular major or minor chords either. It's warm, sensual, and euphoric without veering into treacliness, like any good pop-house track should be. That constant motion means we don't know what the mood is from the chords alone, but that ambiguity says a lot. Instead, producer Nana Rogues' chord progression dances around it, creating suspension and never hitting the ground.
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"Passionfruit" is in the key of B major, but that chord (the "tonic" or home chord) never shows up.