The outro of ‘Hey Jude’ by The Beatles is a prime example of a repeated chord progression, specifically a repeated loop of D-C-G-D. This progression is repeated throughout the last significant section of the song, often referred to as the “na na na” section, essentially becoming a kind of mantra or chant that brings the song to a sustained and palpable resolution.
“Buddy Holly” by Weezer is a power-pop/alternative rock song from their debut studio album “Weezer” (also known as the Blue Album) released in 1994. The verse chord progression features diatonic chords from the A major key, along with some inversions and techniques borrowed from other musical styles such as blues and rock.
The chord progression in Verse 2 of Kali Uchis’s “After The Storm” is a mix of diatonic and chromatic chords that create an interesting neo-soul groove. The harmony is primarily based on G# minor, featuring the G#m7 and A#m7 as primary chords, and the D#aug chord adds tension and release within the progression. Additionally, the use of the D#aug chord acts as a chromatic mediant between G#m7 and A#m7.
“Glory Box” by Portishead from the album Dummy (1994) presents a haunting and somewhat melancholy ambience commonly found in their trademark trip-hop style. This song, in particular, draws from a palette of jazz-influenced harmony. The chords used, their extensions, and inversions, conjure complexity beyond basic triadic harmony. The chord progression listed appears to be in the key of D minor and employs common jazz techniques like ii-V-I progressions and usage of the half-diminished chord.
“Bullet With Butterfly Wings” by The Smashing Pumpkins features a chord progression that uses a lot of power chords (fifth chords) which demonstrates its grungy, rock oriented style. It also incorporates major, minor, and suspended second chords, making it an interesting combination of simplicity and complexity.
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