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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.

“Paper Tiger” by Beck is a song from his album “Sea Change,” released in 2002. The style of this song is primarily alternative rock, with elements of psychedelia and baroque pop. The outro of “Paper Tiger” features a simple chord progression of E, E7, and Bm, with interesting harmonic techniques, such as secondary dominants and borrowed chords.

The chord progression in the verse of Beck’s “Paper Tiger” can be considered a combination of common and non-diatonic chords. The progression moves from a major chord to its dominant 7th and then resolves to the relative minor. Stylistically, this progression is used in rock, pop, and jazz music to create tension and resolution while maintaining a sense of movement or flow.

The chord progression in the verse 1 of “Whole Lotta Love” by Led Zeppelin features just two chords: D and E. This fairly simple progression, used repetitively throughout the verse, creates a strong and energetic foundation for the song. The style of the song reflects 1960s heavy rock, and the simplicity of the chord progression adds to the rawness and drive of the music.

“Hallelujah” by Jeff Buckley is a well-known example of a poignant, introspective ballad with a mix of pop, folk, and gospel elements. It features intricate, emotionally evocative chord progressions that move beyond typical diatonic patterns and uses borrowed chords to create an emotionally charged atmosphere.

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