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Related Music Theory Alchemy

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’)`

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

“Save Me” by Queen is a rock ballad that uses a complex mix of traditional popular song structures and common rock chord progressions. The song structure is largely verse-chorus, but then there’s a bridge serving as the solo section, and finally ends with repeating choruses. The chord progression for the chorus utilizes a variety of chord inversions, diatonic chords, and non-diatonic or borrowed chords, which are typical of Queen’s music style.

The chord progression in the chorus of “Ramona” by Beck is an interesting mix of diatonic and borrowed chords that creates a unique and somewhat unexpected harmonic landscape. It combines major and minor chords, borrowed chords from the parallel minor key, and chromatic chords, making a rich harmonic texture.

“Have You Ever Seen The Rain” is a popular song by Creedence Clearwater Revival from the 1971 album “Pendulum”. This song is performed in the key of C major, and uses chords from the diatonic scale. However, it also utilizes borrowed chords and chord inversions to create a bit of colour and novelty.

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