同sonar傾偈, 真係可以學好多野。
又肯聽我呢個唔識樂理既人亂嗡。

其實大家都同意HC係主要走Bm scale,
不過唔知係咪因為好多粒音環繞在F# note,
所以會有點Phrygian感覺(acoustic版)。
另外HC主要一粒特別COLOR音符似乎是A#,
所以有個F#(7)chord好重要, 個PROGRERSSION尾都係完喺F#chord
另外仲有個不太顯眼的E (7)chord及相關之G# note,
有A#及G#出現, 會唔會係B Natural Minor + B Melodic Minor混合體 ?

因為我唔識咁多樂理, 所以唯有上網搵料。
搵到網上一篇文特別提到Hotel California個Key同dominat V (F#chord)的重要性,
又提到用dominant V唔一定要完全入key, 即可以用F#, 而唔用F#m。
仲分析埋HC個Chorus原來係轉左係D Major Key而唔係Bm Key.
不過因為solo冇用Chorus既progression, 所以我就冇留意。
當中起音既F#-G (V-VI)叫做deceptive cadence(呃人的韻律),
又講左d我似明非明的理論, 我諗你已識, 不過我都post出嚟俾第大家睇下,
當中提及的 V of VII(即A- E的Echord)頗堪玩味:

I'm actually writing the bulk of this before my last column goes online (it makes me look like I'm capable of time travel sometimes) and I'm wondering how many people are going to write me about the breakdown we did of "Hotel California." In particular the part where I brought up how the last line of the verse used the fifth to close the phrase and lead up to the chorus? I might as well have been out and out saying that the chorus was going to start on a B minor, right? But we all know that that's wrong. The chorus of "Hotel California" starts out with a big swinging strum of the G major chord, doesn't it? I'll wait here while you go check it out in the TAB files, sheet music or whatever. Yes, it is indeed D major. So did I just goof up big time or what?

Well, fortunately for me, there is this thing known as the deceptive cadence. And, also fortunately for me, it lives up to its name. It starts out like the authentic cadence in that it begins with the V chord, but then another chord is substituted for the root. Do you remember the way I freaked you out last time by playing the Ab major chord at the end of "Happy Birthday?" That is a great example of a deceptive cadence.

By far the most prevalent deceptive cadence used throughout music history is V to VI.

That's pretty intense, isn't it? Either way, V to VI is a great way for a songwriter to throw a phrase out of whack, to send a song spinning off on a wild reckless moment of abandonment. Now let's go back and look at that half verse of "Hotel California" and follow it into the chorus. First with the actual chords:

Hotel California
- Eagles

Bm F#
…There she stood in the doorway I heard the mission bells
A E
I was thinking to myself this could be heaven or this could be hell
G D
Then she lit up a candle and she showed me the way
Em F#
I heard voices in the corridor thought I heard them say…
G D
Welcome to the Hotel California
Em Bm
Such a lovely place such a lovely face
G D
There's plenty of room in the Hotel California
Em F#
Any time of year you can find them here…

And now with Roman numeral designations:

Hotel California
- Eagles

I V
…There she stood in the doorway I heard the mission bells
VII V of VII
I was thinking to myself this could be heaven or this could be hell
VI V of VI (or III)
Then she lit up a candle and she showed me the way
IV V
I heard voices in the corridor thought I heard them say…
VI III
Welcome to the Hotel California
IV I
Such a lovely place such a lovely face
VI III
There's plenty of room in the Hotel California
IV V
Any time of year you can find them here…

This time, for sure, the V is leading back to the Bm root that starts the second verse. You can take my word on this. Please believe me…

DUAL CITIZENSHIP
"Hotel California" poses other interesting problems as well. For instance, what key is it in? B minor, right? How about D major? B is the relative minor of D major, after all. But listen to the first line of the chorus. That cadence alone makes a good argument for D major, so much so that the plagal cadence that follows it (Em to Bm) doesn't have any feeling of finality to it at all, does it?

We could suggest, from a music theory standpoint, that without a V to I cadence (in D this would be A to D), the key of D major does not really get a chance to establish itself. This would be a valid point. But it would be better to talk about modulation instead. Music is a flowing, living thing. It rarely stays in the same place very long (Phillip glass notwithstanding). Melodies float over an ever-changing progression of chords. It makes perfect sense then, that the tonality of a song would also be subject to permutation.

Let's go back to Walter Piston for a definition:

The process involved in changing from one tonal center to another is called modulation. Modulation represents the dynamic state of tonality. The word implies that there is a key in which a piece of music begins, a different key into which it progresses, and a process of getting there.

文中仲有用第二d歌做例,如Pink Floyd既Comfortably Numb, 幾過癮。
Source:
http://www.guitarnoise.com/article.php?id=27

http://www.guitarnoise.com/article.php?id=26

兩篇分析HC的文章都冇提到Phrygian Mode。

其實蔡生所指既Phrygian Mode會唔會係指Gypsy Kings既rumba flamenco版本呢 ?
click to listen to Gipsy Kings HC

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