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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.

“Lord Only Knows” by Beck is a blend of folk and country with a touch of alternative rock. The song features an interesting chord progression, especially in Verse 3, which includes a mixture of major and minor chords as well as a few borrowed chords.

The chord progression in MGMT’s “Congratulations” contains a mix of diatonic and non-diatonic chords, which provide a combination of stability and tension throughout the progression. The harmonic rhythm is slow, and the progression is mostly driven by bass line movement and voice leading. The mixture of borrowed chords, inversions, and suspended chords contributes to the overall unique character of the piece.

“California Kids” by Weezer is a pop rock song with influences from alternative and power pop. The chord progression in Verse 2 shows a blend of diatonic and borrowed chords, which contributes to a slight sense of tension and resolution throughout the progression. The chords in the verse also exhibit movement by step (C to C/B) and a mixture of major and minor tonalities.

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The progression in the song “The Less I Know The Better” by Tame Impala shows a combination of borrowed chords and modal mixture, with most of the chords belonging to the key of E Major. The verse chords including G# minor, C# minor, B, and E, establish a strong use of modal interchange, borrowed from the parallel minor of E.

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Beck – Lost Cause – Verse 2

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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/vi) – 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/vi)

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E7 (V7/vi) is a borrowed chord.
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Similar Chord Progressions

1. Simon & Garfunkel – “The Boxer”

G major (I) – A minor (ii) – C major (IV) – G major (I) – C major (IV) – G major/B (I6) – A minor (ii) – C major(IV)

2. Oasis – “Wonderwall”

F# minor (i) – A major (III) – E major (VII) – B major (IV) – D major (VI) – A major (III) – E major (VII) – B major (IV)

3. Tracy Chapman – “Fast Car”

C major (I) – G major (V) – E minor (iii) – F major (IV) – C major (I) – G major (V) – F major (IV) – C major (I)

Musical Analysis

The chord progression predominantly alternates between F major and C major, providing a stable foundation. The C major/B adds a touch of tension and interest with its first inversion while maintaining the emphasis on C major. The chord progression deviates from this pattern with A minor and the borrowed E7 chord, creating a momentary sense of anticipation before resolving back to F major. The E7 chord is borrowed from the parallel minor (F minor), acting as a secondary dominant chord to create a stronger pull towards the A minor chord.

Overall Analysis

“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.

Style Analysis

This chord progression is representative of Beck’s melancholic folk-rock style. It is characterized by simple but expressive melodies and harmonies, with a strong focus on storytelling and emotion. Guitar and acoustic instrumentation are used prominently in this style, imbuing the piece with an organic quality.

Chords in the Verse 2 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