Nile hides all his jazz into little riffs that are almost subliminal to the audience, instead of laying it all out which might be overwhelming (although I just find it awesome). Maybe the real chords are too intimidating. I’ve looked a bunch online for the real chords for this song, and didn’t find much worthwhile (most dudes transposed it to A minor or something). Anyway here is where it gets interesting:į is the 5th of Bb, and Ab is the minor 7th of Bb, turning the first chord into Bb minor 7į is the 6th of Ab, and Ab is of course the tonic of Ab turning the second chord into Ab Major 6į is the 2nd of Eb, and Ab is the 4th of Eb, making the third chord a Eb minor 11 (one of Rogers’ favorites)į is the 7th of F#, and Ab is the 2nd of F#, making the last chord F# Major 9 I would label it more as an inverse pedal point (I LOVE these) than a melody, but that is getting deep. On top of that, he adds a little “melody” bouncing between Ab and F, which continues over every chord. As a classically trained musician Bb minor is a terrible key (relative minor to C# major yuck) but for guitarists from a rock or jazz background I suppose it is just a matter of shifting things up or down slightly on the frets. The chord progression in Lose Yourself to dance is Bb minor, Ab major, Eb minor, and F#/Gb Major. The bass gives away the chords because it is nearly 100% tonic notes. SAU is B flat Major, A minor, D minor, G Major all the way through, but it is masked slightly because their lead synth lines are generally based around the 3rd or 5th or 6th scale degree instead of the tonic. If you look at one of their original compositions that did not sample any other records, such as Something About Us, this becomes apparent. That is to say, they sound complex but are actually harmonically straightforward. Generally Daft Punk songs appeal to me in that they are deceptively simple. It showcases some brilliant playing and chord use from Nile Rodgers, who is famous for infusing jazz theory into pop music. This is one of my favorite tracks on the new Daft Punk album, Random Access Memories.
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