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Related Music Theory Alchemy

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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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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.

“After You’ve Gone” is a jazz standard composed by Django Reinhardt. The verse progression of the song uses a combination of major, minor and dominant chords with some borrowed chords and secondary dominants, which is a hallmark of early jazz and swing music. The harmonic rhythm is mainly at a pace of one or two chords per bar, with occasional faster changes. The piece has a strong sense of tonal center around the key of G major.

The song “Closer” by Nine Inch Nails is a dark and provocative piece built upon a relentless, driving chord progression and sinuous melodies. The downbeat feel and chromaticism contribute to the brooding, unsettling mood of the song, which is a hallmark of the industrial rock genre. The piece is in the key of B minor.

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“You Can’t Always Get What You Want” by The Rolling Stones is built around major tonality and uses direct and simple progressions. It also features what are known as additive chords (Gadd9) – chords to which notes are added beyond the common triad. The song commences in the key of G Major, indicated by the G, Gadd9, and C chords. These chords progress in an almost continual cyclical pattern across the verses. Here, the dominant chord (D) in the key of G Major is absent, which grants a tonal ambiguity to the song. Interestingly, the song takes a departure into a different key later on which will not be included in this analysis as it pertains to the Verse only.

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Queens of the Stone Age – Little Sister – Verse

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Chord Progression

[‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’]

Chord Progression Analysis

Here is the breakdown of chords with their Roman numerals:

“`
C#5 (I)
G#5/D# (V/v)
E5 (III)
G#5 (V)
“`
`G#5/D#` is a borrowed chord, working as a secondary dominant to the `E5`. It ultimately creates this lovely tension before resolving to the `E5` or `III`.

Similar Chord Progressions

The I – V/v – III – V progression isn’t quite standard, but power-chord-heavy songs that lean on the I – III – V progression are common in the rock genre. One similar song in structure and progression is “Back in Black” by AC/DC. Here’s how the chords break down:

“`
E5 (I)
G5 (III)
A5 (IV)
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Another song that comes close—especially to the I – V/v – III part—is “Last Nite” by The Strokes:

“`
F (I)
C/E (V/v)
Dm (vi)
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Just remember, it’s the way these chords are used within the context of each song that truly makes the similarity standout. Still, analyzing these elements can develop our understanding of the language of music.

Musical Analysis

The four-chord progression features repetitive thematic transformation typical of many rock music without relying on traditional functional progression. The constant transition between chords introduces a certain level of tension and release that makes this piece so compelling. The verse starts on the tonic, moves to secondary dominant, resolves to III and then to the dominant V.

Overall Analysis

“Little Sister” by Queens of the Stone Age is in C# minor and features an interesting blend of simple cycle of power chords, articulating a I – V/v – III – V progression during verses. The track is heavy but also melodic, built from a four-chord pattern that creates a mesmerizing tonality within the rock genre.

Style Analysis

“Little Sister” leans on the raw power of distorted power chords (5 chords) and is driven by a consistent, pulsating rhythm section. The steady progression fits well within the post-grunge, stoner rock genre. It’s a minimal style filled with hard, heavy sounds, but the band also injects a good amount of melody, making it palatable for a broader audience.

Chords in the Verse section of Little Sister by Queens of the Stone Age are:

[‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’]