![]() You can think of that as a key change, but I find it much more interesting to think of the song as having been in G major all along… you just have to retroactively hear the opening loop as a IV-V-vi deceptive cadence. But when the chorus rolls around, you get C major -> Dmajor -> G major, or IV-V-I in G major. Not quite as common as I-IV-V-I, but common enough that you have no reason, on first hearing the song, to hear the verse any other way. Music theorists reading this: it’s important to remember that in pop music, VI-VII-i and its major-mode equivalent bVI-bVII-I are *totally* kosher. Here’s how I hear it: The progression for the verse is C major -> D major -> E minor, which seems at first like VI-VII-i in E minor. Stokes: Living on a Prayer is actually a very cool song, harmonically. I think you could argue that there are 3 or 4 key changes in that song-or at least changes of mode-since the verse is in minor and the chorus (as it sounds to me, anyway) is in the relative major. We're not having a poll this week, but let us know in the comments which of these you prefer. ![]()
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