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Related Music Theory Alchemy

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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The song “Let It Happen” by Tame Impala, which is in the key of A Major, uses a simple yet effective chord progression during its outro. The common pattern of I-vi-IIIIV (Major-minor-Suspended 4) recurs throughout. The G#sus4 chord provides a moment of tension before resolving back to the tonic and restarting the pattern. The progression concludes with an Emaj7 chord, which is a borrowed chord from the parallel minor.

“And I Love Her” by The Beatles is predominantly set within the key of F# minor. Apart from the chorus that momentarily modulates to the key of D minor, the verses embrace a darker, melancholic atmosphere portrayed by the minor keys. The tonal structure and chord progressions in the song are reflective of the band’s exploration of intricate harmonies, going beyond the simple three-chord structures of many contemporary pop songs of the time.

“Hallelujah” is a song by singer-songwriter Jeff Buckley and is a cover of a song originally written by Leonard Cohen. The song is in the key of C major and features a moderate tempo with a 6/8 time signature. This particular chord progression, taken from the second verse, consists mainly of diatonic chords found within the key, but also includes a few borrowed chords and a secondary dominant, giving the song a sense of tension and release.

“Castles Made of Sand” by Jimi Hendrix is a psychedelic rock song that features a unique and colorful chord progression, blending major and minor tonalities in a way that creates tension and a sense of longing. The verse consists of a 12-chord progression that builds upon the foundation of the major key of C, even though it starts with the IV chord (F), which contributes to the song’s unusual character. The progression includes borrowed chords from the parallel minor and elements specific to Hendrix’s own style, making it a remarkable piece in terms of its harmonic complexity and eclecticism.

Tame Impala – Feels Like We Only Go Backwards – Verse 2

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Chord Progression

[‘Dm’, ‘Cmaj7/G’, ‘Cmaj7/G’, ‘Dm’, ‘G’, ‘Gm’]

Chord Progression Analysis

Verse 2, the chords progress as follows:
– D minor (‘vi’)
– C Major 7/G (‘VMaj7/IV’)
– C Major 7/G (‘VMaj7/IV’)
– D minor (‘vi’)
– G Major (‘II’)
– G minor (‘ii’)

“`md
Borrowed Chords: G Major (‘II’)
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Similar Chord Progressions

1. Radiohead – “Paranoid Android”:
– F# Minor (‘vi’)
– D Major (‘IV’)
– D Major (‘IV’)
– F# Minor (‘vi’)
– B Major (‘V’)
– B Minor (‘v’)

This progression is similar since it moves mainly between the relative minor and major, and also incorporates a major to minor shift.

2. Beach House – “Space Song”:
– E Minor (‘vi’)
– D Major (‘V’)
– D Major (‘V’)
– E Minor (‘vi’)
– A Major (‘II’)
– A Minor (‘ii’)

Another song that incorporates the shift between major and minor, and an unexpected II chord borrowed from the Lydian mode.

Musical Analysis

In the given progression of Verse 2 (Dm, Cmaj7/G, Cmaj7/G, Dm, G, Gm), the chords begin with D minor (vi), which is the relative minor of the song’s key. Then, the progressions move to the C Major 7/G (VMaj7/IV), this interesting move is an example of modal interchange (borrowing chords from the parallel minor) and it creates tension. The chord progression then returns to D minor (vi), which provides a bit of resolution.

However, the progression then moves to G Major (II), a borrowed chord from F Lydian, which is unexpected and adds a unique flavor to the song. Finally, the progression transitions into G minor (ii), which provides a sense of resolution and returns it back to the tonality of F Major.

Overall Analysis

“Feels Like We Only Go Backwards” by Tame Impala is a psychedelic pop song notable for its dreamy, lo-fi sound and use of unconventional chord progressions. Musically, the song is written in the key of F major, but creatively uses chromatic mediants, borrowed chords, and modal interchange to establish a unique harmony. The song also uses dynamic contrast to create a dreamlike atmosphere, increasing the song’s overall psychedelic effect.

Style Analysis

Tame Impala often utilizes unique chord progressions, non-diatonic chords, and modal interchange in their music, resulting in a psychedelic sound that’s both familiar and ethereal. The song’s production, with sweeping synth pads and dreamy vocal harmonies, further enhances this.

Chords in the Verse 2 section of Feels Like We Only Go Backwards by Tame Impala are:

[‘Dm’, ‘Cmaj7/G’, ‘Cmaj7/G’, ‘Dm’, ‘G’, ‘Gm’]