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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.

The chord progression in the hook of Beck’s “Heart Is A Drum” is in the key of C major and follows a strong diatonic harmonic structure, with the exception of the Dm7, which acts as a borrowed chord from the parallel minor (C minor). The progression exudes a feeling of longing and nostalgia, typical of many popular songs in the indie-folk genre.

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.

“Bennie And The Jets” by Elton John, released in 1973, features a distinctive chord progression that exemplifies Elton’s advanced harmonic sensibility and taste for grand piano-based balladry. The song is mainly in the key of G Major.

The chorus from Jeff Buckley’s rendition of “Hallelujah” in the key of C major beautifully demonstrates a diverse range of chords and harmonic techniques. The chord progression incorporates diatonic chords, borrowed chords, and some unexpected harmonic twists, all of which work together to create a sense of emotional depth and tension throughout the chorus.

Beck – Lost Cause – Chorus

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Chord Progression

F, G, F, G, F, G, C, A7, F, G/C, F, G, F, G, C

Chord Progression Analysis

F Major (IV), G Major (V), F Major (IV), G Major (V), F Major (IV), G Major (V), C Major (I), A7 (V7/vi), F Major (IV), G/C (V), F Major (IV), G Major (V), F Major (IV), G Major (V), C Major (I)

Borrowed Chord: None

Similar Chord Progressions

1. Radiohead – “Karma Police”:
Chords: Am (vi), D (II), G (V), C (I), Em (iii), Am (vi), G (V), C (I)
In this progression, Radiohead also utilize the IV-V movement (in this case, G-C) and employ non-diatonic chords (D Major) to create a mix of tension and resolution in the harmony.

2. Oasis – “Wonderwall”:
Chords: Em7 (iii7), G (V), Dsus4 (IIsus4), A7sus4 (VII7sus4), Cadd9 (Iadd9), Em7 (iii7), G (V), Dsus4 (IIsus4)
Here, Oasis emphasizes the IV-V pattern (in this case, C-G), and incorporates sus and add chords, thus adding a distinctive texture to the harmony.

Musical Analysis

This progression uses a recurring IV-V pattern (F-G) which gives a sense of movement and builds tension throughout the section. The A7 is the only non-diatonic chord here, which acts as a secondary dominant chord (V7/vi) and temporarily leads the listener towards the vi chord (A minor). However, instead of resolving to A minor, Beck cleverly returns to the IV (F Major) chord, thus thwarting the listener’s expectations and giving the progression a more interesting twist.

Overall Analysis

The chord progression in the chorus of “Lost Cause” by Beck showcases a simple yet effective pattern utilizing major chords and a dominant seventh chord, which creates tension and resolution throughout the progression. The song is in C major, and the chords predominantly follow the diatonic harmony of the key. The style is reminiscent of folk and alternative rock, with the harmony playing a significant role in evoking a sense of melancholy in the listener.

Style Analysis

The simplicity and repetition of the IV-V pattern, combined with the addition of a secondary dominant chord, is indicative of Beck’s genre-blending approach, with elements from folk, alternative rock, and indie pop. The use of mostly major chords and the occasional twisting of harmonic expectations can be seen as reflecting the melancholic nature of the lyrics and the overall theme of the song, which talks about a futile and lost cause.

Chords in the Chorus section of Lost Cause by Beck are:

F, G, F, G, F, G, C, A7, F, G/C, F, G, F, G, C