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Related Music Theory Alchemy

“Lost Cause” by Beck from the album “Sea Change” showcases a melancholic and heartfelt mood with a slow tempo, exuding a sense of introspection and vulnerability. The song can be described as a folk-rock ballad with subtle touches of country and indie rock.

The chord progression of the chorus in Beck’s “Girl Acoustic” is relatively simple and straightforward, yet effective in creating a memorable and catchy tune. The song is in the key of A major, and the progression maintains a predominantly diatonic harmony.

The song “It’s A Fire” by Portishead features complex harmonic structures, distinguished by a fusion of pop, rock, and elements of jazz harmonies. The band, known for their trip-hop style, employ chromatically richer harmony and non-diatonic chord progressions in this piece. The chord progression of ‘It’s A Fire’ is consistent with this approach as we see the frequent use of suspended and minor chords alongside major ones, which creates a sense of unresolved tension. Borrowed chords, usually taken from the parallel minor or major key, are also used frequently to add stylistic color to the harmony.

David Bowie’s song, “Space Oddity,” is typically interpreted as being in the key of C Major. It’s an interesting song harmonically, featuring not just Primary Triads and Secondary Dominants but also uses Borrowed Chords, non-functional harmony, and chromatic chord changes. The kind of harmonic movement might be called Bowie’s deviation from the traditional harmonic patterns, which is part of what gives his music its characteristic ‘alien’ vibe. This progression has a more modal feeling due to the use of borrowed chords and the shifted tonal center.

The chord progression in the verse of “Congratulations” by MGMT is an interesting blend of conventional pop and classical harmonies with some use of borrowed chords. The progression features mostly diatonic chords in the key of G major, but there are moments of modal interchange and suspensions that add color and tension to the progression.

Beck – Lost Cause – Verse 1

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Chord Progression

F, C, C/B, F, C, C/B, F, C, C/B, Am, E7, F, C, C/B, F, C, C/B, F, C, C/B, Am, E7

Chord Progression Analysis

`F Major (I) – C Major (V) – C Major/B (V6) – F Major (I) – C Major (V) – C Major/B (V6) – F Major (I) – C Major (V) – C Major/B (V6) – A minor (vi) – E7 (V7/iv) – F Major (I) – C Major (V) – C Major/B (V6) – F Major (I) – C Major (V) – C Major/B (V6) – F Major (I) – C Major (V) – C Major/B (V6) – A minor (vi) – E7 (V7/iv)`

Borrowed Chord(s):
`E7 (V7/iv)`

Similar Chord Progressions

1. Bob Dylan – “Don’t Think Twice, It’s All Right”: `C Major (I) – G Major (V) – Am (vi) – Am/G-Am/F# (vi6-vi/#4) – F Major (IV) – C Major (I) – C Major/E (I6) – F Major (IV) – G7 (V7) – C Major (I)`
2. Radiohead – “Exit Music (For a Film)”: `C Major (I) – Bm7-5 (viiø7) – Am (vi) – E7 (V7/iv) – F Major (IV) – Fm6 (iv) – C Major (I)`
3. The Beatles – “Blackbird”: `G Major (I) – G Major/B (I6) – Am7 (ii7) – Am7/G (ii7/7) – D7 (V7) – G Major (I)`

Musical Analysis

Throughout the verse, Beck alternates between the tonic (or I) chord, F Major, and the dominant (or V) chord, C Major. These alternations serve as a solid foundation, grounding the progression. As the bass note transitions from C to B in the C Major/B chord (also known as the V6 chord), it adds a stepwise motion to the movement, creating a sense of forward momentum in the progression.

The inclusion of the borrowed chord E7 (V7/iv) introduces a more dramatic tension and some ambiguity as it leans towards the parallel key of F minor, which would typically have an A-flat rather than an A natural. This tension is released as the progression resolves back to F Major (I).

Overall Analysis

The chord progression throughout this verse of Beck’s “Lost Cause” is predominantly in the key of F Major with some chords from its relative minor (D minor). The use of borrowed chords adds variety and color to the progression, and the alternation between F major and C major chords creates a strong sense of tonality and grounding in the key of F Major. The use of Am and E7 chords provides a brief tension and leaning toward the parallel key of F minor before resolving back to the original key. This adds interest and complexity to the otherwise straightforward progression.

Style Analysis

Beck’s style in “Lost Cause” is a blend of folk rock with alternative elements. The chord progression accentuates the melancholic mood of the song, enhanced by the use of A minor (vi) and the tension-building E7 (V7/iv) chords. The harmonic structure embraces a sense of simplicity with the repetition of the I – V – V6 chords, which serves as a nod to the roots of folk music.

Chords in the Verse 1 section of Lost Cause by Beck are:

F, C, C/B, F, C, C/B, F, C, C/B, Am, E7, F, C, C/B, F, C, C/B, F, C, C/B, Am, E7