nou ja, goed klinken.... ik bedoel dan dat het werkt, is dat beter?

als voorbeeld, lees de uitleg over Radiohead - Creep in deze link:

https://popgrammar.com/borrowed-chords/


G / / / | G / / / | B / / / | B / / /

C / / / | C / / / | Cm / / | Cm / / /

The first chord is G major, which poses no problem – that’s I. But then how do we analyze the B major chord in measure 3? It contains a D#, which should be a clue that something strange is going on. It’s not a borrowed chord, and here’s how we know. If we’re in G major, our borrowed chords will come from G minor. D# isn’t in the key of G minor, and B major isn’t a chord we recognize from the key of G minor.

We might, then, consider that the B chord could be a secondary dominant. D# is the leading tone to E, so we can label the B chord as V/vi – a secondary dominant pointing at E minor. But the B chord doesn’t resolve to vi (E minor), as we might expect. Instead, it resolves to C major, which contains two notes in common with E minor (E and G). So the B chord is a secondary dominant with a deceptive resolution. So the first three chords are as follows:

I V/vi IV

So far, the progression is similar to that of “Build Me Up Buttercup,” which we discussed in the last chapter. But Radiohead throw another curveball with the C minor chord at the end of the progression. This is our borrowed chord. It’s the iv chord from the parallel minor key, G minor. So here’s our entire progression.

I V/vi IV iv

Radiohead repeats this progression over and over, so this is a great song to listen to in order to appreciate how these chords (secondary dominants, deceptive resolutions, and borrowed chords) sound.

Ik kan me toch niet voorstellen dat iemand dit van te voren bedacht heeft....