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Related Music Theory Alchemy

The chord progression in the interlude of “Are We Still Friends?” by Tyler, The Creator is a simple yet effective progression that moves from the tonic chord to a dominant seventh, followed by a subdominant chord, and finally a minor subdominant chord. The progression creates an interesting shift in tonality that is common in jazz and soul music, which are styles that Tyler is known to incorporate into his work.

The chord progression in the bridge of “Gone, Gone” by Tyler, The Creator can be described as a combination of diatonic and borrowed chords from the parallel minor key. The key of the song is F major, and the progression combines elements of pop, R&B, and jazz, creating a distinctive harmonic sound.

“Everything In Its Right Place” by Radiohead is an experimental and ambient piece released in 2000 as part of their album “Kid A.” The piece defies traditional pop and rock song forms, delving more into the territory of electronic and experimental music. The outro chord progression is simple but intriguing, serving a hypnotic and unresolved quality that keeps the listener engaged.

“God Only Knows” by The Beach Boys is one of their most well-known pieces and a primary example of the sophisticated harmonic writing characteristic of the group’s 1966 “Pet Sounds” record. This piece is particularly designed in the key of A major. The Outro of the song includes the following chords: ‘A’, ‘E/G#’, ‘F#m7’, ‘E/G#’ and many other chords throughout the song with complex chord changes that might not be typical in a pop song, but are characteristic of the band’s sound.

The outro of Muse’s “Apocalypse Please” features a mix of power chords and triadic chords, with predominant iim7 and IV triads along with some embellishing chords. The piece has a rock-based style, with the emphasis on power chords, a driving rhythm, and intense dynamics. The chord progression borrows elements from different genres, such as pop and classical, with some interesting chromatic movement.

Tyler, The Creator – Are We Still Friends – Outro

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Chord Progression

G#m, G, A, B

Chord Progression Analysis

G# minor (i), G major (bVII), A major (bVIII), B major (bIX)

“`
i (G# minor) – borrowed from the parallel minor
bVII (G major) – borrowed chord
bVIII (A major) – borrowed chord
bIX (B major) – borrowed chord
“`

Similar Chord Progressions

1. Radiohead – “Paranoid Android”
C minor (i), B major (bVII), C# major (bVIII), F# major (bIX)

2. The Beatles – “I Am the Walrus”
C major (I), A major (bVIII), G major (bVII), F# major (bVI)

3. David Bowie – “Life on Mars?”
F major (I), Bb major (IV), Eb major (bVII), Ab major (bII)

These examples showcase other artists making use of chromaticism and unconventional harmonic choices, though the specific chord progressions are different from Tyler’s in “Are We Still Friends.” Nevertheless, the shared elements of surprise and musical interest allow for these examples to be viewed within the same stylistic context.

Musical Analysis

The progression begins on the tonic G# minor (i) chord, giving a sense of stability before moving chromatically down to the G major chord (bVII). This move is unusual but can be seen as an outcome of modal mixture (borrowing from the parallel minor). From G major, the progression then moves up a whole step to the A major (bVIII) chord, adding more chromaticism and creating tension between the first two chords. Finally, the progression lands on the B major (bIX) chord, which can be viewed as borrowed from the parallel phrygian mode, further increasing the overall harmonic ambiguity.

Overall Analysis

The outro chord progression of “Are We Still Friends” by Tyler, The Creator has an interesting and somewhat unconventional structure. It’s composed of four chords and follows a pattern that showcases chromatic motion, a key element often found in the music of Tyler, The Creator. The vamp is harmonically ambiguous, relying on the dynamic interplay between the chords to create tension and resolution.

Style Analysis

Tyler, The Creator is known for his experimental approach and unique harmonic choices, and “Are We Still Friends” is no exception. The outro chord progression showcases his penchant for chromaticism and ability to create unexpected moments of tension and musical interest. Additionally, the use of borrowed chords spanning different modes, modal mixture, and unconventional harmonic choices are all hallmarks of Tyler’s distinctive style.

Chords in the Outro section of Are We Still Friends by Tyler, The Creator are:

G#m, G, A, B