Met – nothing else matters

[Botond Papp]

I’ve transcribed nothing else matters some time now, and I’ve started studying it (music theory and production wise).
Most of the theory (scales, chord functions) I understand but during the chorus there is an Amaj. From what scale does it come from, and what is its role (function)?

 

[idssdi]

It seems to be an outside chord(which is sometimes used to grab the attention of the listener). I can’t think of any key that has D|C|A in there so I guess it is simply D mixolydian with an Am where the third is moved up half a step(making it an A major chord) It’s possible that you can use C Double harmonic major over it but I’m not sure (maybe somebody else can chime in on this)

 

[idssdi]

Woops I meant C# double harmonic major not sure how the mode would be called and also Amy not sure whether I’m actually correct on that one.

 

[Botond Papp]

Well thx. I’m sure there should be an actual (precise) theory behind that Amaj. I wonder how could I use it in my own chord progressions and imrpovisations. But thx, that C# double harmonic major might be of use here for soloing at least.

 

[Ed Seith]

The song, like many standard-tuned rock guitar songs, is in Em. The A chord being major and not minor is probably because Hetfield is not a huge theory guy and it “just sounded good.”
There’s a nice discussion thread I found on this, and those guys can’t seem to agree, either.
What key has A Major, C Major, D Major from musictheory

TIL Reddit has a sub for discussing the minutiae of music theory.

 

[Botond Papp]

Ok. Thx a lot.

 

[idssdi]

It seems like a lot of songs(hotel california, nothing else matters and more) are written in that way. Just messing around going ‘hey this sounds great to my ear’

 

[Botond Papp]

Yea. It really seems to be like that.

 

[Ed Seith]

Rock music takes a LOT of liberties with key signatures. The easiest and most prominent way is through use of the power chord. By only using root and fifth (and octave), and omitting the third entirely, key becomes largely relative in many cases, and then you’ve got the folks (like our guy Syn) who love the hell out of being chromatic. Syn tends to do it more in leads, while someone like Mustaine does it a lot more in rhythm playing.

 

[idssdi]

There is this weird thigs about powerchords though. Even though the chord itself doesn’the have the thirds there’s still an underlying Harmony going on which implies certain thirds actually being there.