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Related Music Theory Alchemy

The piece “3’s and 7’s” by Queens of The Stone Age illustrates a fascinating blend of minor and major tonality, accented dissonances, and unexpected harmonic turns, which is characteristic of the band’s stoner rock and alternative metal style. The verse 2 chord progression is in A# minor and it sticks to a fairly repetitive three-chord progression of A#m – G# – F.

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“Little Sister” by Queens of the Stone Age is based in the rock genre, featuring a simple melody with strong rhythmic components, built on a mix of power, suspended and major chords. The use of the C#5 and G#5/D# chords in the verses and the F#sus4-E-G#sus4 repetition in the chorus indicate an overall key signature of F# minor.

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“Hallelujah” by Jeff Buckley is a well-known example of a poignant, introspective ballad with a mix of pop, folk, and gospel elements. It features intricate, emotionally evocative chord progressions that move beyond typical diatonic patterns and uses borrowed chords to create an emotionally charged atmosphere.

“Come Together” by The Beatles, like many other Beatles songs, is known for its unique melody and innovative chord progressions. The song is written in the key of D minor and employs frequent use of bluesy pentatonic scale patterns. The meter is 4/4 (common time). The song is characterized by the use of common chords, with the exception of the Bm and Bm/A chords which are noteworthy.

The chord progression in the verse of “Apocalypse Please” by Muse is mostly based on the F#m and C# chords, with a strong emphasis on the i and V7 relationship. The progression moves back and forth between these two chords without straying far from the Tonality of F# minor while maintaining a tension and release structure.

Queens of the Stone Age – 3S And 7S – Verse 1

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Chord Progression

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

Chord Progression Analysis

The repeating chord sequence for the verse of “3s and 7s” is A#m, G#, F.

The breakdown is as follows:
A# Minor (‘i’)
G# Major (‘VII’)
F Major (‘VI’)

Similar Chord Progressions

A similar chord progression can be found in Radiohead’s “Paranoid Android.” Although in a different key (G minor), its verse follows a similar pattern:

G Minor (‘i’)
F Major (‘VII’)
Eb Major (‘VI’)

This chord progression is, however, quite common and is found in numerous other modern compositions.

Musical Analysis

In regards to the harmonic function of the chords, the sequence continually resolves from a tense i – VII to VI, before repeating. This sequence focuses on the tonic (A#m) as a driver throughout the verse, commonly leading into the dominant 7th chord (G#) before resolving into the submediant (F). It’s also worth mentioning that from a traditional Classical point, the chord progression lacks a V – I (dominant – Tonic) resolution except in some sections where E (V) resolves to A#m (i).

Overall Analysis

The song “3s and 7s” by Queens of the Stone Age is in the key of A# minor. The chord progression predominantly features three chords: A#m, G#, and F. The progression utilizes elements of rock and metal music, characteristic of the band’s style. The composition has a darker feel brought by the use of minor chords and dropped tuning, which is frequently employed in harder styles of rock music.

Style Analysis

Queens of the Stone Age are known for their unique fusion of heavy metal, hard rock, and alternative rock. The chord progression of “3s and 7s” reflects this, venturing outside of classic rock paradigms. The repeated use of A#m, G#, and F lends itself to a darker, more contemplative, and atmospheric feel.

Chords in the Verse 1 section of 3S And 7S by Queens of the Stone Age are:

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