Rules, Rules, Rules

There really aren't any concrete rules in Music that a Theory can't somehow provide a concept for.
Take the classic song "Hey Joe", as example.
The progression; Cmaj, Gmaj, Dmaj, Amaj, Emaj--------Has puzzled many in considering what Key, if any, it can associate with..
It could associate with the Key of E, even though the progression starts out with Cmaj, it then ends on Emaj. When looking at the progression in reverse, it goes; E - A - D - G - C.....From this direction the Chord progression is associated by 4ths;
A = 4th of E,,,,,,,,, D = 4th of A,, G = 4 of D,, C = 4 of G,,, etc.........
So, the progression could be written as;

C = IV of IV of IV of IV
G = IV of IV of IV
D = IV of IV
A = IV
E = I

The progression moves in 4ths and ends on the "I" chord.
Anyway, It's a Theory........

2 Names 4 Words "john Coltrane & Miles Davis"

It appears that you are passing through the key you are approaching to a key with only one note difference; correct?

So a jazz student would likely look ahead and say...I must be in the key of (the next chord). Never having had to solo over this tune, I'm not sure what works, so I'm guessing.

seems somewhat logical

i would say

IV I V V/V and then E serves as the V of the A

possibly, there are modulations all over the place with each next chord after G being the V of the previous chord.. or you could say it's moving as IVs i suppose..

or even.. the E could serve as something of a picardy thirdish thing because Em would be the vi of G major .. or a bVI from the parallel minor..

Originally Posted by: sarinaj
Never having had to solo over this tune, I'm not sure what works, so I'm guessing.

I believe Hendrix used the E minor Pentatonic/E Blues scale to solo over this progression which would again suggest that the song is in the key of E