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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 Beck’s “Lord Only Knows” is in the key of B Major and features some chromaticism and borrowed chords that give it a unique and somewhat unexpected sound. The chords move predominantly in fourths and fifths. The nature of the progression is reminiscent of rock and folk music, but Beck’s quirky and stylistic approach also evokes an alternative feel.

The key of ‘Take Me Home, Country Roads’ is G Major, a common key for pop and country songs which provides a bright and uplifting sound. Throughout the song, only four different chords are used: G, D, Em and C. The progression is repeated consistently, with only the sudden introduction of an F major chord (borrowed from the parallel minor of G) towards the end of the song during a transition phase.

“Hurt” by Nine Inch Nails features a melancholic and introspective chord progression. The song is predominantly in the key of B minor. The verse and outro sections revolve around the Bm, D, and E chords, while the chorus uses a progression of Bm, G, D, A. The use of borrowed chords enriches the harmonic landscape, adding depth to the composition.

“I Guess That’s Why They Call it the Blues” is a well-known hit by Elton John from the album “Too Low for Zero” released in 1983. The song is a blend of pop, rock and blues styles and showcases Elton John’s proficiency in blending different music genres. The verse uses a straightforward I-V-vi-IV progression which is a common progression in pop music.

The Chorus’s

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