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Related Music Theory Alchemy

The chord progression in verse 2 of “Telepatia” by Kali Uchis is a jazz-influenced progression in the key of E minor. It features several extended chords, such as the Em9 and Gmaj7 used throughout, and a dominant chord, B7, which provides tension and resolution in the progression. The G/A chord, which is essentially an A11 chord without the 3rd, also gives the progression a sense of blending major and minor tonalities.

The chord progression in Kali Uchis’ “Loner” features a mix of major, minor, and augmented chords, which contributes to the song’s unique sound and emotional depth. The progression has an unconventional and intriguing quality, while still maintaining a sense of harmonic coherence.

“Buddy Holly” is a song by Weezer with an upbeat, pop-rock feel. It exists in the key of A major and showcases a recurring chord progression in its verse consisting of F#m, E/G#, and A.

“Everything In Its Right Place” by Radiohead is a harmonically adventurous piece with an unconventional structure that features a mixture of modal and borrowed chords. The piece has an impressionistic quality influenced by classical lineage, while also regularly employing electronic and synthesized sounds.

“The Rip” by Portishead is a classic example of the Trip-hop genre. It features simple, yet effective harmonic progressions that offer a melancholic tone which is widely utilized in this genre. The distinctiveness of this particular chord progression lies on its subtle shifting between minor and major tonalities, as well as its use of borrowed chords.

Verse 1

Kali Uchis – Telepatia – Verse 1

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Chord Progression

Gmaj7, B7, Em9, G/A, Gmaj7, B7, Em9, G/A

Chord Progression Analysis

1. Gmaj7 (I)
2. B7 (III7 **borrowed from G harmonic minor**)
3. Em9 (vi9)
4. G/A (I/A)
5. Gmaj7 (I)
6. B7 (III7 **borrowed from G harmonic minor**)
7. Em9 (vi9)
8. G/A (I/A)

“`
B7 (III7) is a borrowed chord from G harmonic minor
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Similar Chord Progressions

1. “Put It All On Me” by Ed Sheeran (ft. Ella Mai)
– Progression: CMaj7 (I), E7 (III7), Am7 (vi7), C/G (I/G)

2. “Just the Two of Us” by Bill Withers
– Progression: F#m7 (ii7), B7 (VI7), Emaj7 (I maj7), Emaj7/D# (I maj7/3)

3. “Maria Maria” by Santana
– Progression: G#m9 (i9), C#9 (IV9), F#9sus4 (VII9sus4), Bmaj9/F# (III9/5)

In each of these examples, there are similar elements to the progression in “Telepatia,” such as the use of extended chords, the presence of a borrowed chord, or the shift from a major chord to a minor chord. These songs also display elements of jazz, soul, and Latin styles.

Musical Analysis

The chord progression starts with Gmaj7, which establishes the tonic of G Major. The following B7 chord is borrowed from G harmonic minor, creating a temporary sense of tension and surprise. This tension resolves when the progression moves to Em9, which is the relative minor of G Major. The G/A chord is an inversion of the tonic chord, helping to maintain a strong sense of G Major despite the chromaticism. The progression then repeats itself, allowing for the return of tension and resolution that gives the verse its distinctive character.

Overall Analysis

The chord progression in the verse of “Telepatia” by Kali Uchis showcases a mix of diatonic and chromatic harmony. The progression is built around the key of G Major and has a strong Latin and jazz-influenced sound. The use of extended chords like Gmaj7 and Em9 adds depth and sophistication to the harmony, while the non-diatonic B7 contributes to the tension and resolution.

Style Analysis

Kali Uchis’ music is influenced by a range of styles, including R&B, soul, hip-hop, jazz, and Latin music. The chord progression in “Telepatia” showcases the Latin and jazz influences, with the use of extended and borrowed chords lending a lush, romantic quality to the harmony. This sound evokes a sense of longing and romanticism, which complements the lyrics and overall concept of the song.

Chords in the Verse 1 section of Telepatia by Kali Uchis are:

Gmaj7, B7, Em9, G/A, Gmaj7, B7, Em9, G/A