Search

Related Music Theory Alchemy

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.

The chord progression in Beck’s “Nobody’s Fault But My Own” from Verse 1 features a mix of diatonic and borrowed chords, primarily from the D Major scale but also incorporating chords from the parallel minor and other related keys. This gives the progression a unique and fresh sound that sets it apart from more traditional progressions. Notably, there are several pedal points using the D root throughout the progression, which helps maintain a sense of tonal center.

“Today” by The Smashing Pumpkins, was released in 1993 on their second album, “Siamese Dream.” The song is classic-’90s alternative rock with its layered guitars and emotionally raw lyrics. key is “E minor.”

“Hey Joe” by Jimi Hendrix is a classic rock song featuring a cyclic chord progression in the key of E major. The song is well-known for its distinctive and temporarily ambiguous harmonic structure, bluesy vocal melodies, and Jimi Hendrix’s influential guitar playing. The verse chord progression constantly circles back on itself, creating a hypnotic effect.

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.

Beck – Lost Cause – Verse 1

Add To Favorites Remove From Favorites

< All Analyses

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