This song is in the key of B, meaning that B is the tonic or tonal center of the song.

It's mostly B major scale (Ionian mode), except in the chorus which uses B mixolydian (E major scale). INTRO The intro is simply the root B, an octave B and a 6th G#. VERSE In the verse (which I didn't see a video for) the guitar holds the B5 power chord while the bass plays B G# and F# (I think). The combination of these two parts creates the sound of the chords B, G#m7 and Esus4. B G# and F# makes a I vi V (1 6 5) progression. PRE-CHORUS The pre-chorus is based on a IV I V (4 1 5) progression. The IV chord is played as a power chord, the I chord is played as an inversion with the 3rd interval in the root position and the V chord is played as a power chord. After the V chord is a little run in the B major scale that starts on the 4th of the V chord. CHORUS The first part of the chorus is based on a I IV (1 4) progression. A 9th is added to the I chord and the IV chord is played as an inversion with the 5th B (open 5th string with capo at fret 2) in the root position. From there the IV chord is played by only fingering its 3rd and octave root. The second part of the chorus features a modal interchange. Instead of staying in B Ionian mode (the plain major scale) it changes to B mixolydian mode, which is another type of B major key. In B mixolydian mode you use the notes and chords from the E major scale, but with everything revolving around the 5th, B. This is where the A chord comes from, which is played as a power chord with the root on string 4. Technically, A is the IV chord in the key of E. But in this case you could also call it a bVII (flat 7) chord because it's a flat 7th down from the tonic of this song, B. Some musicians would call this a "borrowed chord" because you borrowed it from another key. After the A the chorus goes to the IV chord E, playing it as an inversion with the 3rd in the root position. The lead part that follows stays in B mixolydian mode (E major scale) by using the b7th A note. Something to consider: The three major chords in the B major scale (Ionian mode) are B E F#. The 3 major chords in the key of E are E A B. So the three major chords in B mixolydian mode are E A B. B is the tonic (root), E is the IV (4) chord and A is the bVII (b7) chord. It's very common to interchange the two major modes Ionian and Mixolydian. Doing so gives you four major chords I IV V (1 4 5) and bVII (b7). In this case the chords are B E F# and A. BRIDGE The bridge is similar to the pre-chorus. Learn Guitar Theory To learn more about progressions see Fretboard Theory Chapter 6 and my DVD Guitar Chord Progressions and Playing by Numbers. To learn more about chord fingerings, inversions and voicings see Fretboard Theory Chapter 3 and my DVD CAGED Template Chord System. To learn more about major scale modes see Fretboard Theory Chapter 8 and my DVD Guitar Modes - The Modal Scales of Popular Music. CHORD INVERSIONS Major chords are built using the intervals 1 3 5. The 1 3 5 for an E major chord are E G# B. These

notes can be combined in any order and you can have multiple occurrences of a note. A common E barre chord at the 7th fret on string 5 is E B E G# B. But there are other occurrences of these notes in that position. There's a G# at the 6th fret of string 4 and there's a B at the 7th fret of string 6 (or string 5 open if you have a capo at the 2nd fret). You can make up different kinds of chord shapes/fingerings, or chord inversions/voicings, by grabbing the notes of E in a manner different from the standard barre chord shape that is so often used. If you do so it's still considered an E chord. The only rule to follow here is that the name of the chord changes when the root changes. For example, an E chord with a G# in the lowest position should be labeled and called E/G#. That means that it's an E chord but with G# in the lowest, or bass position. An E chord with a B in the lowest position is called E/B. You can learn how to map out the notes of chords and build chord inversions by playing arpeggios. Arpeggio patterns are part of what I teach with the CAGED system.