Mariya Takeuchi - Plastic Love
Intro!
||Bbmaj7 /A |G-6 Fmaj | Eb9 Bbmaj Cmaj | Dmaj ||
Triad riff during Bbmaj, Cmaj and Dmaj is: A F D A, G E C G, F#.
Verse!
||G-7 |C7b9(13) |A-7 |D-7 |
|G-7 |C7b9(13) |A-7 |D-7 ||
This repeats a few times! It’s a II V III VI in F major, neat jazz functional harmony!
The segment where a sliding 4th guitar riff comes in, the chords change up to:
||G-7 |Eb13 |D-7 |G9 |
|G-7 |C7b9(13) |A-7 |D-7 | |
Still largely in F major, however the chords that don’t “fit” are Eb13 and G9! The Eb13 could be considered modal interchange from F minor (Aeolian). Eb13 = bVII. It’s a little wonky but really I think we’re just looking at Eb13 being a color chord that resolves half step down to D-7. And G9 is acting as the V chord in a II V, where D-7 is the II chord. So that’s like a II V from the key of C major, but since D-7 is in both C major and F major, the II V mini progression fits in that way. Another way to justify throwing in dominant chords where it sounds good LOL. But then the G9 resolves itself by going to G-7, and then we’re back in normal F major land. The bass walks us from the D-7 by way of D, E, F, where F is the V to the next section (which starts on Bbmajor).
Chorus?!
||Bb major |C major |Bb major |C major |
|E-7 A7 |D-7 |Bb maj C maj |A- D- |
|Bb major |C major |Bb major |C major |
|Bb maj C maj | D major | | ||
The E-7 A7 again is a little II V jazz action thrown in to resolve to the D-7. E-7 A7 is borrowed from the key of D major, but instead the chords resolve to D minor.
The final 4 bars is our triad pal
from the intro, wrapping up this city pop delivery evenly! Enjoy!
