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Muse

The chord progression from Muse’s “Hate This And I’ll Love You” displays a mix of diatonic and borrowed chords from the parallel minor. The progression is in the key of A major and shows an unconventional use of chords that gives the song its unique sound. It also showcases certain characteristics of Muse’s music style that includes complex chord progressions and frequent changes between major and minor harmonies.

Chord Progression Analysis and Roman Numerals:

A ('I'), Gm ('bVII'), D/F# ('IV/V'), A ('I'),
Gm ('bVII'), D ('IV'), A ('I'), Gm ('bVII'),
D/F# ('IV/V'), A ('I'), Gm ('bVII'), D/F# ('IV/V')

The borrowed chord in this progression is Gm, taken from the parallel minor, A minor:
`Gm (‘bVII’)`

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Muse

Muse’s “Can’t Take My Eyes Off You” is a rock interpretation of the classic 1967 pop song “Can’t Take My Eyes Off You” by Frankie Valli, which has been covered by various artists in different styles. The chord progression of the chorus is characterized by a series of diatonic chords, predominant in Western pop music. This progression follows a typical 1950’s “doowop” pattern present in countless pop and rock songs, utilizing the familiar circle of fourths movement (Dm-G-C) and establishing a straightforward harmonic rhythm.

Chord Progression Analysis with Roman Numerals (borrowed chords in code block):

D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major (I) – A major (V/vi) – D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major 7 (Imaj7) – C7 (I7) – C6 (I6) – C major (I) – Ab major (*bVI) – C major (I)

`* Ab major (bVI) is a borrowed chord from the parallel minor key (C minor).`

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Green Day

“Boulevard of Broken Dreams” by Green Day, released in 2004, is an alt-rock anthem that largely follows a 4-chord progression throughout the song. The key signature of the song is E minor (derived from the root chord), and essentially all chords used in the song are diatonic, meaning they are derived from the scales of the key. The chorus shifts to a progression in C Major. However, it returns to E minor at the end.

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The Beatles

The song “Yesterday” by The Beatles is in the key of F major and spans chord I to VI. It is characterized by a deeply expressive melody and distinctive harmony. The chord progression seems simple, yet it makes full use of secondary dominants, borrowed chords, and subtly shifting tonal centers for narrative, which is a trademark of The Beatles’s songwriting style.

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Queen

The song, “Somebody to Love” by Queen, utilizes the classic pop/rock harmonic structure while incorporating aspects of blues and gospel music. The harmonic progression is structured around common chords found in the key of G major. However, the way these chords are ordered and arranged is unconventional and adds depth to the song. It reflects the band’s interest in pushing the boundaries of the traditional harmonic structure common in pop music of that time. Queen is known for their innovative use of harmony, which they certainly showcase in this song.

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Muse – Hate This And Ill Love You – Chorus

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Chord Progression

Em, Bm, F#sus4, F#, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, G#m7, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D, Em, Bm, F#sus4, F#m, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D

Chord Progression Analysis

E minor (i), B minor (v), F#sus4 (IVsus4 of Bm), F# major (V of Bm), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), Bm7/G# (*V7/iii♭), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G#m7 (ivm7 of E), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G minor (*bIII), D/F# (II6 in Em and V6 in G), A major (*IV) [or V in Dm], G minor (*bIII), D major (*Ton), E minor (i), B minor (v), F#sus4 (IVsus4 of Bm), F# minor (*iv in Em or iv in Bm), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), Bm7/G# (*V7/iii♭), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G minor (*bIII), D/F# (II6 in Em and V6 in G), A major (*IV) [or V in Dm], G minor (*bIII), D major (*Ton).

`*` denotes borrowed chords or chords with tension notes.

Similar Chord Progressions

1. Radiohead – Paranoid Android:
[Am (i), D7 (*IV), G (♭VII), C (III), Bm7 (*iv), E (V_II), Am (i), D7 (*IV), G7 (♭VII_dim)]

2. The Beatles – Something:
[C (I), Cmaj7, C7 (*V), F (IV), D (*VII), G (*III), G7 (*III_dim), A (*VI), C#7 (*V_III), F#m (III), F#m7, B7 (V)]

Note that these similar progressions feature a mix of diatonic and non-diatonic chords. They also use secondary dominants and borrowed chords, indicative of the rock music genre’s experimental harmony.

Musical Analysis

The chorus consists of a mix of diatonic, modal interchange, and secondary dominant chords. Some chords create tension, which then resolves to the subsequent chords. For example, F#sus4 to F# major represents a suspended chord resolved by the major chord.

Muse also uses descending chromatic bass motion in Bm7/A, Bm7/G#, and Bm7/G. This technique adds tension and movement throughout the chorus, a common element in rock music.

Overall Analysis

The chorus of “Hate This And I’ll Love You” by Muse features a highly chromatic and non-diatonic chord progression, with a myriad of borrowed chords and some distinctive rock sound. The key within which the progression is based seems to shift between E minor and B minor, with a mixture of Major and minor chords throughout.

Style Analysis

Muse often employs a mix of classical harmonic techniques and rock-inspired rhythmic elements. This progression includes chromaticism, some modal interchange, and various tensions that create a sense of variety and unpredictability, an approach characteristic of their music.

Chords in the Chorus section of Hate This And Ill Love You by Muse are:

Em, Bm, F#sus4, F#, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, G#m7, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D, Em, Bm, F#sus4, F#m, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D

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