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Related Music Theory Alchemy

The outro of Beck’s song “Morning” features a beautiful and interesting chord progression in the key of E major. This progression has a mix of diatonic and borrowed chords that creates an evocative sonority and dreamy atmosphere, fitting seamlessly with the rest of the song.

The chord progression in Verse 2 of Beck’s “Say Goodbye” showcases a unique blend of chords that are not commonly heard together in popular music. The mix of major, minor, and borrowed chords creates an interesting and engaging sound. Its distinctive quality can be found in the use of the A# major chord, which is not diatonic to the key of G major.

“Can’t Buy Me Love” is a song in C Major. The Beatles were renowned for their use of a variety of chord progressions, and this song certainly lives up to that reputation. Although the progression in the verse primarily consists of the chords ‘C7’, ‘F7’, and ‘C’, it’s the way they are harmonically linked that makes it really interesting.

“Comfortably Numb” by Pink Floyd is a classic progressive rock song from their 1979 concept album “The Wall”. It features unique chord progressions, ambient guitar tones, and an atmospheric vocal performance. This particular verse progression is inspired by the Dorian mode, contributing to its melancholic and introspective atmosphere.

“Here Comes The Sun” by The Beatles uses a D Major scale. The song primarily comprises chords built on the tonic or root note (D), which lends a consistent, grounded feel. This reflects the lyrics’ mood—contentment, renewed optimism, and a sense of homecoming with the arrival of the sun.

Beck – Morning – VERSE 1

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Chord Progression

E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m

Chord Progression Analysis

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E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)
E Major (I) – A Major (IV) – G# Minor (vi) – F# Minor (ii)

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Similar Chord Progressions

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1. Bob Dylan – “Knockin’ on Heaven’s Door”
Chord Progression: G Major (I) – D Major (V) – A Minor (ii) – G Major (I) – D Major (V) – C Major (IV)

2. Green Day – “21 Guns”
Chord Progression: D Major (I) – A Major (V) – B Minor (vi) – G Major (IV)

3. Oasis – “Wonderwall”
Chord Progression: E Minor (i) – G Major (III) – D Major (VII) – A Major (IV)

These examples share some similarities with the chord progression in “Morning” in that they all make use of simple diatonic chords, have repetitive structures, and exhibit a sense of warmth and familiarity.

Musical Analysis

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The chord progression follows a simple, repetitive pattern that is common in pop and rock music. It has a strong sense of tonality with the E Major chord (I) beginning each cycle. The A Major chord (IV) provides a departure from the tonic and contributes to the sense of resolution when returning to E Major. The G# Minor (vi) and F# Minor (ii) chords both add some tension and emotion to the progression. The fact that there are no borrowed chords or modulations in this particular chord progression maintains a sense of familiarity and simplicity.

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Overall Analysis

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The given chord progression is from the verse of Beck’s song “Morning.” The progression is in the key of E Major and follows a cyclical pattern throughout the verse.

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Style Analysis

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The style of this chord progression is reflective of Beck’s indie/folk-rock sensibilities. The focus on diatonic chords creates a warm, folky feel. Furthermore, this straightforward and repetitive progression is typical of pop, rock, and folk genres, supporting a melodic and/or lyrical focus in the song.

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Chords in the Verse 1 section of Morning by Beck are:

E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m, E, A, G#m, F#m