Search

Related Music Theory Alchemy

Tame Impala’s “Let It Happen” is a song in A major key. The chord progression seems simple at first, with a repetitive motive throughout the verse but it creates a hypnotic effect that is very much in line with Tame Impala’s psychedelic style.

“Let It Happen” by Tame Impala is characterized by its psychedelic and experimental nuances. It features an overall bright and uplifting tone despite its use of some more complex chords. The song ska common in pop music. The chord progression in question has a strong melodic sensibility demonstrating Kevin Parker’s ability to incorporate complex musical ideas into a pop format.

“Time” by Pink Floyd is a progressive rock piece characterized by its reflective lyrics, syncopated rhythms, and distinctive use of chromaticism and modality. This chord progression takes place in the third verse of the song, where the harmonic structure is more complex and features borrowed chords, creating a sense of tension and resolution, reflecting the lyrics and conveying emotions of nostalgia and regret.

“1979” by The Smashing Pumpkins employs a variety of chords throughout the song, including major, major 7th, and minor 7th chords. The chord progression varies between sections but is based mostly on a mid-tempo groove in the key of E Major. The song utilizes common pop/rock conventions to create a dreamy and nostalgic soundscape, with the juxtaposition of the major and minor 7th chords adding complexity.

The chord progression for verse 3 of Led Zeppelin’s “Stairway to Heaven” utilizes multiple techniques to create a rich and emotive sound. These techniques include diatonic chords, borrowed chords, and extended harmony. The progression follows a general pattern, with a repeated structure that helps unify the verse.

Tame Impala – Let It Happen – Verse 3

Add To Favorites Remove From Favorites

< All Analyses

Chord Progression

[‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’]

Chord Progression Analysis

Here is the chord progression analysis for Verse 3:
“`
A (I)
F#m (vi)
G#sus4 (VII sus4)
“`

The song key is in A Major. Notably, the G#sus4 chord is a borrowed chord from A harmonic minor scale.

Similar Chord Progressions

Similar chord progressions are found in the songs ‘Strawberry Fields Forever’ by The Beatles, using a I – vi – iv progression, and ‘Wonderwall’ by Oasis, using a I – vi – IV – I – ii – IV progression. They present similarities since they use the primary and secondary triads in popular music structure. Nonetheless, it’s important to note the uniqueness of Tame Impala’s progression due to the substitute borrowed chord.

Musical Analysis

Tame Impala plays extensively with musical texture, underpinned by a constant percussive drive that provides momentum. The repetitive sequence of this chord progression underlines a cyclical motif, reflective of the song’s philosophical content. The use of the G#sus4 chord adds an unexpected tension and resolve into the familiar A and F#m chords, which carry the song’s melodic line.

Overall Analysis

Let It Happen’ by Tame Impala employs an accessible and effective chord progression, usual in pop/rock music, yet has unusualness due to the usage of the G#sus4 chord, providing a unique tonal flavor and emotional quality. There is a striking use of harmonic contrast and a continuous return and release of tension throughout the song. This creates an immersive cyclical quality, complementing the song’s theme of embracing inevitable moments and experiences.

Style Analysis

This progression is emblematic of Tame Impala’s style, who often blend accessible pop/rock structures with more complex, unexpected elements. The result is a sound that is instantly recognizable but never predictable. The production is heavily layered and psychedelic-inspired, with a significant use of electronic effects and a broad dynamic range.

Chords in the Verse 3 section of Let It Happen by Tame Impala are:

[‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’]