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The chord progression in “Ramona” by Beck is a blend of diatonic and chromatic harmony with some borrowed chords from outside the key. The piece is in the key of G major, and it features several instances of voice leading, smooth transitions between chords, and the occasional unexpected chord that adds interest and depth to the progression.

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 “Glory Box” by Portishead chorus progression is based in D minor and moves between this primary D minor chord and three other chords: Dm/C, Bm7b5, and Bbmaj7. The Dm/C chord is the same as the D minor, but with a different note in the bass (C). The Bm7b5 is a half-diminished chord. The Bbmaj7 is major seventh chord.

“Penny Lane,” written by the Beatles, utilizes key changes and borrowed chords to create an interesting and complex tonal palette. The song is best understood to primarily be in the key of A Major; however, it frequently borrows chords from the parallel minor key, uses unexpected dominant chords, and briefly modulates to other key areas for color and variety. This is characteristic of several Beatles songs, and it’s one of the ways they added complexity to their music while still remaining accessible.

This chord progression is in the key of Am. The work can be seen as a mix of the Western tonal harmony, incorporating the use of inversions alongside nondiatonic chords. Tame Impala employs the elements of neo-psychedelia with unique chord progressions and arrangements. The alteration between two chords creates a revolving feeling, reinforcing the title “alter ego”.

Beck – Ramona – Chorus:

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Chord Progression

G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G

Chord Progression Analysis

G (I) – Bm (iii) – E (V/vi) – Am (ii) – C/G (IV) – E♭/B♭ (bVI) – B♭ (bIII) – Dm (v) – G (I)

Repeating this progression five times in the chorus.

Similar Chord Progressions

1. Radiohead – “Paranoid Android”
E (I) – Bsus4 (V) – G#m (iii) – C#m (vi) – A (IV) – F#/A# (V/V) – B (V)

2. The Beatles – “Strawberry Fields Forever”
C (I) – F (IV) – E♭/G (bIII) – G (V) – G (V) – Dm (ii) – Em/B (v/vi) – A (V/vi) – Am (vi)

3. David Bowie – “Space Oddity”
Em (i) – Em7M (iM7) – C/E (VI) – Cmaj7/E (VImaj7) – B♭/D (bVI) – F (II) – G (III) – Em (i)

These songs, like “Ramona,” feature unconventional or unusual chord progressions with borrowed chords and/or chromaticism that create a rich and emotional harmonic texture.

Musical Analysis

The progression starts with a typical I-iii progression (G-Bm), before moving to E (V/vi) which acts as a secondary dominant to the vi (Am) chord. Am is then followed by a IV chord (C/G), creating a sense of resolution.

The progression takes an interesting turn with the borrowed chords from G minor (parallel minor key): E♭/B♭ (bVI) and B♭ (bIII). These chords create a sense of harmonic intrigue and tension, highlighting Beck’s creativity in using non-diatonic chords. Ending the progression with Dm (v) instead of D (V) brings a softer resolution back to the tonic (G) and adds a touch of modal coloration.

Overall Analysis

The chord progression in the chorus of “Ramona” by Beck is an interesting mix of diatonic and borrowed chords that creates a unique and somewhat unexpected harmonic landscape. It combines major and minor chords, borrowed chords from the parallel minor key, and chromatic chords, making a rich harmonic texture.

Style Analysis

Beck’s use of borrowed chords and chromaticism in “Ramona” reveals his penchant for incorporating various musical traditions and influences into his work. The impressionistic, emotional quality of his progression is reminiscent of romantic and early 20th-century music, with its combination of diatonic and non-diatonic harmonies. It is certainly unconventional in terms of pop music, reflecting Beck’s status as an experimental and alternative artist.

Chords in the Chorus section of Ramona by Beck are:

G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G, G, Bm, E, Am, C/G, Eb/Bb, Bb, Dm, G