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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 bridge of Beck’s “Heart Is A Drum” features a mixture of diatonic chords and borrowed chords. This creates a sense of continuous flow, which is commonly found in many popular music songs. The progression contains primary chords (G, C, and F) and a secondary chord (Dm7).

The chord progression in the chorus of Radiohead’s “Knives Out” is an interesting and unconventional one, making use of some borrowed chords and a mix of major and minor tonalities. The overall style of the song can be described as alternative rock with some influences of jazz harmony and chromaticism, creating a unique and moody atmosphere. The progression is mostly diatonic, but it also incorporates some borrowed chords from parallel modes to add color and tension.

Vance Joy’s “Riptide” is a remarkably simple yet highly effective song written in the key of C Major. The song follows a repetitive I-vi-IV chord progression, which is only varied in the bridge where a minor seventh chord introduces tension before leading back to the song’s major tonality.

The chord progression in the chorus of “Endlessly” by Muse is an interesting mix of chords from related keys and chromatic alterations. The overall key of the piece is D minor, but there are some unexpected twists and turns that keep the harmonic journey unique and engaging.

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