Search

Related Music Theory Alchemy

**

“Don’t Look Back In Anger” uses simple yet effective chord progressions common in pop/rock music. It incorporates both major and minor chords, showing some classic pop sensibilities. The song is situated in the key of C Major. Embedded within this progression are instances of borrowed chords – the E7 for instance, is a secondary dominant, often used to inject a bit of tension and to give strong resolution leading into the next chord.

**

“Don’t Look Back in Anger” by Oasis is written in the key of C major. Although it largely conforms to the traditional progressions expected within this key, the song does feature some interesting variations in the form of borrowed chords coming from the parallel minor key (C minor) – a common technique used in pop and rock music.

**
Generally, the chord progression follows the conventional guidelines of western music, utilizing strong resolution from B (V) to E (I). However, it also employs some harmony techniques very typical in pop/rock music, such as the use of slash chords and chord inversions (A/E, F#m7/E) to add harmonic interest. In addition, it incorporates chromatic mediant relationships (E to C#m) to create a sense of progression.

**

**

“Riptide,” by Vance Joy has a classic, highly repetitive chord progression that creates the folk/pop character of the song. It is written in the key of C Major and uses the simplified I-IV-vi progression, which is also widely used in pop music. In addition, it has a common modulated transition via V chord (G) to the vi chord (Am). There are no borrowed chords in this progression. This repetitive structure can be appealing due to its simplicity and familiarity.

**

The chord progression in the verse of Tyler, The Creator’s “Earfquake” is primarily based on a simple alternation between two chords, Bbmaj7 and Am7, with a brief excursion to Gm7 before returning to Am7. The simplicity and repetition of the progression creates a feeling of comfort and stability, while the use of major 7th and minor 7th chords adds a touch of sophistication and smoothness. The progression doesn’t follow a traditional functional harmony, but it effectively supports the melody and the overall vibe of the song.

Oasis – Dont Look Back In Anger – Verse 1

Add To Favorites Remove From Favorites

< All Analyses

Chord Progression

[‘C’, ‘G’, ‘Am’, ‘E7’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’, ‘C’, ‘G’, ‘Am’, ‘E7’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’, ‘F’]

Chord Progression Analysis

First Phrase [‘C’, ‘G’, ‘Am’, ‘E7’]
C major (I)
G major (V)
A minor (vi)
E7 (III7)

Second Phrase [‘F’, ‘G’, ‘C’, ‘Am’, ‘G’]
F major (IV)
G major (V)
C major (I)
A minor (vi)
G major (V)

Third Phrase [‘C’, ‘G’, ‘Am’, ‘E7’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’, ‘F’]
C major (I)
G major (V)
A minor (vi)
E7 (III7)
F major (IV)
G major (V)
C major (I)
A minor (vi)
G major (V)
F Major (IV)

“`
C major – G major is a I-V progressions in C major.
A minor – E7 is a vi-III7. E7 is a borrowed chord from the key of A minor
“`

Similar Chord Progressions

The Beatles’ “Let It Be” also uses the I-V-vi-IV progression:
C major (I)
G major (V)
A minor (vi)
F Major (IV)

Journey’s “Don’t Stop Believin’” employs the I-V-vi-IV progression in its iconic piano part:
E Major (I)
B Major (V)
C# minor (vi)
A Major (IV)

Green Day’s “When I Come Around” observes a I-V-vi-IV progression:
G Major (I)
D Major (V)
E minor (vi)
C major (IV)

“`
In the above examples, the last chord in each progression is a plain major chord (IV), unlike the III7 chord (E7) used in Oasis’s song.
“`

Musical Analysis

The first part of this progression (I – V – vi – III7) is a variation of the well-known `I – V – vi – IV` progression, replacing IV with the III7 creating a secondary dominant to the vi chord. This adds tension and interest.

The second part (IV – V – I – vi – V) is a typical pop progression. The added V after the vi provides resolution back to I.

The third part is a recapitulation of the first part, with an extended sequence leading back to IV, delaying the resolution and adding a sense of drama.

Overall Analysis

This iconic Britpop song predominantly features the use of traditional tonal harmony found in pop songs throughout the late 20th century, and the verse specifically recalls the harmonic patterns utilized in the 1950s and 60s. The defining feature of this song (as is the case with many Oasis tunes) is the use of returning, resounding repetitions of simple chord sequences.

Style Analysis

Oasis’s sound was heavily influenced by the British Invasion bands and 1960s pop rock. The use of repeated and cyclical chord progressions, often with modulations, was a common musical device of these genres. In this song, the use of classic chord progressions with an unexpected borrowed chord creates an engaging, anthemic quality that is evocative of the British pop/rock style.

Chords in the Verse 1 section of Dont Look Back In Anger by Oasis are:

[‘C’, ‘G’, ‘Am’, ‘E7’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’, ‘C’, ‘G’, ‘Am’, ‘E7’, ‘F’, ‘G’, ‘C’, ‘Am’, ‘G’, ‘F’]