Love Kills (2014) or Babe, I'm Gonna Leave You ???

It feels terrible that I even have to say this, but here goes:

PEOPLE, please. Using the same chord progression as an existing song isn't plagiarism - a chord progression is a SUMMARY of any polyphonic passage of music, and tonal harmony offers precious few options for different chord progressions. Plagiarism is primarily a rhythmo-melodic thing - harmonies can be considered plagiarized when the VOICE LEADING (i.e. the intervals by which the different voices move), and thus the melodic lines of said voices (and their rhythmic progression), are identical to an existing composition, provided the plagiarized passage is longer than four consecutive bars. Proko makes a different erroneous assumption - a passage can still be plagiarized if it has been transposed into another key, as this does not alter the intervals between notes (assuming we're not talking about more complex things like major-to-minor transposition) and thus the voice leading remains the same too.

Brenski was talking about a MELODIC PASSAGE that seems to be lifted off Led Zep. And it seems that he is right.

If we're gonna go this deep into it (deeper than Brenski probably had in mind when he posted it), then tell me how, exactly, the A, E, A, E melody from the beginning of Babe, I'm Gonna Leave You uses the same note intervals as the G, G, Bb, F from the 2014 version of Love Kills. Hint: it doesn't.

[QUOTE] [b]tomchristie22 wrote:[/b]

If we're gonna go this deep into it (deeper than Brenski probably had in mind when he posted it), then tell me how, exactly, the A, E, A, E melody from the beginning of Babe, I'm Gonna Leave You uses the same note intervals as the G, G, Bb, F from the 2014 version of Love Kills. Hint: it doesn't. [/QUOTE]

but that was my exact point - it wasn't about all the "deeper" comparisons that people have come back referring to - as per yours above.
It was exactly as quoted in the post above you - a reference to nothing more than the simple melody. and regardless of what you think about the technicalities of the song - think about it a melody in it's simplest form is a passage of music that catches your ear:
for example:
you could hear an orchestra play Stairway to Heaven
and then hear someone whistling the same tune in the street - very badly, but that wouldn't prevent you recognising both to contain the same melody

when someone i've had major disagreements with here recently agrees with me, then i must have a point. my initial comment is accurate - the melody is a lift of BIGLY.

I might've misread quinn's post - I thought he was saying that the note intervals were what make it a lift. My mistake, if so.

Either way, it just sounds different enough to me that I can't see any reason to believe it was taken from the Zep song. I'll agree to disagree.

[QUOTE] [b]tomchristie22 wrote:[/b]

I might've misread quinn's post - I thought he was saying that the note intervals were what make it a lift. My mistake, if so.

Either way, it just sounds different enough to me that I can't see any reason to believe it was taken from the Zep song. I'll agree to disagree. [/QUOTE]

You´ve read it just fine.
And you´re right about your conclusions.

[QUOTE] [b]tomchristie22 wrote:[/b]

I might've misread quinn's post - I thought he was saying that the note intervals were what make it a lift. My mistake, if so.

Either way, it just sounds different enough to me that I can't see any reason to believe it was taken from the Zep song. I'll agree to disagree. [/QUOTE]

I say that the intervals are what makes *something* plagiarized. This *particular example* is not actually plagiarism because there is no question of more than four consecutive measures being literally lifted from Led Zep. I do, however, see how the melodic segment was probably adapted, barely, from the Led Zep song referred to in the original post, justifying calling it a steal or a lift IMHO. Lift yes, plagiarism no.