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The chorus of “Closer” by Nine Inch Nails is built around a progression that oscillates between a single major chord, F, and a single minor seventh chord, Cm7. This is quite minimalistic. Major chords usually have a happy, positive feel, while minor chords induce a somewhat sad, introspective mood. The use of C minor 7th gives a particular color to the progression: it’s a minor chord with an added minor seventh, which means it’s a bit less stable than a regular minor chord.

“Right Where It Belongs” by Nine Inch Nails features a melancholic and somewhat unconventional chord progression that moves between different tonal centers. The base key can be identified as F major from the frequency of F major chords in the progression.

“Right Where It Belongs” by Nine Inch Nails is a song characterized by its melodic and harmonic structure. It has a unique yet familiar sound, blending pop and alternative rock elements with its rich chord progression and powerful melody.

The chord progression in Tyler, The Creator’s “Gone Gone” is a mix of diatonic and non-diatonic chords, making it an interesting and unique progression. It features a combination of major, minor, and an altered seventh chord, adding to the overall complexity of the progression. The style is reminiscent of jazz and R&B, where more complex harmonic structures are often used. Some borrowings from different modes and chromaticism also contribute to its richness and distinct sound.

“I Sat By The Ocean” by Queens of The Stone Age is written in E Major key.

Nine Inch Nails – Closer – Chorus

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Chord Progression

C#, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, C#

Chord Progression Analysis

Chorus: C# Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – F# Major (V) – B minor (i) – C Major (bII) – C# Major (bII)

Borrowed Chords:

The C Major chord is a borrowed chord since it is from the parallel major key (B Major).

Similar Chord Progressions

1. “Hurt” by Nine Inch Nails (Trent Reznor): C Major (I) – D# diminished (viio) – E minor (iii) – A minor (vi) – G Major (V)

2. “Karma Police” by Radiohead: G Major (I) – B minor (iii) – F# minor (ii) – A Major (IV) – D Major (V)

3. “Creep” by Radiohead: G Major (I) – B Major (III) – C Major (IV) – C minor (iv)

While the chord progressions in these songs may not be identical to “Closer,” they share a similar use of borrowed chords, chromaticism, and modal mixture as a means of creating harmonic interest and tension. These qualities are typical of alternative rock and electronic music and contribute to the overall mood and atmosphere of the songs.

Musical Analysis

The chorus of “Closer” features a repeated chord progression with predominant use of the bII borrowed chord (C Major and C# Major). The progression revolves between the tonic (B minor), a dominant function (F# Major), and the bII chord, creating a sense of tension and resolution throughout the chorus. The use of borrowed chords adds a sense of color and variety to the overall harmonic structure.

Overall Analysis

“Closer” by Nine Inch Nails is a song in the key of B minor, although it freely borrows chords from the parallel major key. The song’s structure is as follows: Verse – Pre-Chorus – Chorus – Verse – Pre-Chorus – Chorus – Bridge – Chorus – Instrumental.

Style Analysis

In terms of style, “Closer” by Nine Inch Nails is an example of industrial rock with electronic elements. It is characterized by its use of synthesized sounds, gritty production, and aggressive lyrics. The incorporation of chromaticism, modal mixture, and borrowed chords is a defining feature in the harmonic vocabulary of the song, which contributes to its dark and dissonant musical atmosphere.

Chords in the Chorus section of Closer by Nine Inch Nails are:

C#, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, F#, B, C, C#