Talk:The Magic Inside/@comment-4034626-20151121195147/@comment-27578467-20190228040812

You did specifically mention the I-V-vi-IV "progression", which refers to the specific order of the chords, and that's what I assert does not exist in this song. As for it using those chords not necessarily in that order, of course it does--they are extremely functional in western tonal music--but it also uses quite a few flatted VII's, ii's, and iii's, which means it covers all the standard intervals of a major scale and not just the "four chords". I definitely do think this "sounds" like a pop song (as I indicated in my last post), but that's a matter that goes beyond chord progressions.

As for F verses E#, I assumed you were translating I-V-vi-IV into the key of G# major, which you said was G#-D#-F-C#. Firstly--regarding your comment that you were "referring to specific notes rather than chords"--when you use Roman numerals in music analysis, it is assumed you are referring to chords rather than individual pitches. Secondly, even still, traditional major scale intervals must account for every note letter (A-G) once and only once; the problem with calling G#:vi an F is that because you skip E you now don't have a note for vii, which is normally Fx (double sharp). You can't have F count for two different intervals, meaning vi has to be E#, even if the enharmonic note lies on the F pitch. I don't know what your level of music technical understanding is, but this is what you would learn in an undergraduate theory course.