There's nothing inherently wrong with this approach, it just doesn't necessarily conform to standard music theory. It's quite possible that someone's sat down with an instrument and just tried some chords out, and found that they like the sound of these chords in that order. If you're melody writing from this understanding, find a key for each pair of chords, and try to move to the new key by the end of each chord. If a chord belongs to the same key as the chord that follows it, then we are essentially changing to that new key (one that has the notes of both those chords). So there's two ways to understand this kind of progression. No standard 8-note scale contains four consecutive semitones like that. The Chords describe these notes (although they may be 'spelled' differently, meaning Bb can be expressed as A#) It could be voiced as an A#, to fit the standard rule that a scale has each lettered note name exactly once. Because that would require both B and Bb notes. There is no key which contains both G major and Bb major.
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