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Related Music Theory Alchemy

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 “Sexx Laws” by Beck is a non-diatonic chord progression that features chromatic and unexpected chords. The progression seems to be based in the key of E major, but the chords used are not strictly within the E major scale, providing a distinctive sound and style characteristic of Beck’s music. The progression contains some parallel major chords, giving it a distinct classic rock vibe.

“It’s A Fire” by Portishead is a song characterized by its frequent modulations and use of borrowed chords, making it a considerable complexity in terms of harmony. It features transition from key centers and borrowed chords from other keys, which creates tension and resolution creating the signature moody and intense atmosphere Portishead is known for.

The chord progression in the chorus of “Nude” by Radiohead features a mix of diatonic and borrowed chords, with some added tensions for additional color. It reflects the band’s signature style of blending unexpected harmonic elements to create a unique and evocative sound. In particular, the mix of major and minor chords with added tensions lends a sense of both familiarity and unconventionality to the progression.

The chorus of “Right Where It Belongs” by Nine Inch Nails is built upon a repeating four-chord progression of Gm-Bb-F-C. This song is in the key of Bb major (with two flats in the key signature, Bb and Eb). All the chords used in this song are derived from the Bb major scale, which makes this a diatonic chord progression. There is no borrowed or chromatic harmony in this song.

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