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The “Like Clockwork” track by Queens of the Stone Age showcases a wide range of harmonic complexity. The track is in the key of F# minor and it is characterized by non-traditional chord progressions. From the range of chords used within the song, it’s clear that the song deviates from strict diatonic harmony, and freely borrows chords from parallel keys (modal mixture).

“I Sat By The Ocean” by Queens of the Stone Age is in the key of E major and utilizes a mix of diatonic chords (i.e., chords native to the key of E major) and borrowed chords (i.e., chords borrowed from parallel or related keys).

Pre-Chorus

The song “Ceilings” by Lizzy McAlpine utilizes fairly simple, yet effective, chord changes that are quite common in popular music. This progression primarily takes place in the key of G major, but borrows chords from the parallel minor scale and adds extensions to the chords to add depth and color.

“Zombie” by The Cranberries is in the key of E minor. Its structure is generally pop and rock, with the power of distorted guitars and a heavy drumbeat complemented by Dolores O’Riordan’s haunting vocals. It utilizes a four-chord progression, which is common in many pop and rock tracks and has been a popular choice amongst songwriters for its simplicity and versatility.

“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.

Queens of the Stone Age – Like Clockwork – Verse 2

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Chord Progression

[‘F#m’, ‘A’, ‘E’, ‘C#m’, ‘F#m’, ‘A’, ‘E’, ‘C#m’]

Chord Progression Analysis

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Here’s the listing of the full chord names, their respective roles in the key of F# minor (assuming that as our tonic), along with notation of any borrowed chords:

– F# minor (‘i’)
– A Major (‘III’)
– E Major (‘VII’)
– C# minor (‘iv’) – this could be seen as a borrowed chord from F# Major.

“`
[‘F# minor (i)’, ‘A Major (III)’, ‘E Major (VII)’, ‘C# minor (iv)’]
“`

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Similar Chord Progressions

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Though not identical, a somewhat similar chord progression can be found in Radiohead’s “Creep,” and Muse’s “Time Is Running Out.” While these songs don’t use the same chords, the use of primarily minor chords and deviation from typical pop progressions is a common thread among these artists.

The progression in “Creep” is:

– G Major (‘I’)
– B Major (‘III’)
– C Major (‘IV’)
– C minor (‘iv’) – this is a borrowed chord

“`
[‘G Major (I)’, ‘B Major (III)’, ‘C Major (IV)’, ‘C minor (iv)’]
“`

The progression in “Time Is Running Out” is:

– D minor (‘i’)
– A# Major (‘VI’)
– F Major (‘III’)
– C Major (‘VII’)

“`
[‘D minor (i)’, ‘A# Major (VI)’, ‘F Major (III)’, ‘C Major (VII)’]
“`

Musical Analysis

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This progression is interesting in that it deviates from the standard circle-of-fifths pattern seen in much of popular music. The progression moves from i to III, which is a fairly common progression. Then it jumps to VII followed by iv, which is more unexpected. This creates a unique, sombrero sonic texture, which is a signature of Queens of the Stone Age’s harmonic style.

The unique element of this progression is the C# minor chord, formed by raising the third degree of the scale from what would be expected in the key of F# minor. This sort of harmonic shift is a typical element of rock music, used to create an unexpected and unique sound that adds interest to the composition and catches the listener’s ear.

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Overall Analysis

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Looking at the entire song and isolating the verse, the chord progression provided shows a rock style often seen in Queens of the Stone Age compositions. The harmonic language of this song and its progression style fall within the realm of Pop / Rock music, with frequent use of minor chords suggesting a somber or introspective mood. On first glance, it appears to contain chords primarily from the key of F# minor, with no obvious borrowings from other keys. However, a closer inspection will allow us to delve deeper into their harmonic function.

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Style Analysis

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The use of minors combined with a melody that likely uses elements of the harmonic minor scale or natural minor scale is indicative of Queens of the Stone Age’s style. They often use darker, minor-based tonalities, with atypical chord progressions and melodies to preserve their gloomy and somber sonic atmosphere. This, combined with their aggressive guitar playing and rhythmic complexity, gives them a distinct sound within the rock genre.

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Chords in the Verse 2 section of Like Clockwork by Queens of the Stone Age are:

[‘F#m’, ‘A’, ‘E’, ‘C#m’, ‘F#m’, ‘A’, ‘E’, ‘C#m’]