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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.

The chord progression in Verse 3 of Beck’s “Say Goodbye” features an interesting mixture of diatonic and chromatic chords with noticeable tonal shifts. The progression is G – A# – Am – C – G – A# – Am – C, with an emphasis on the G major key. This progression conveys an expressive and slightly unstable mood, creating tension and release with the inclusion of borrowed and non-diatonic chords.

The chord progression of the verse in Weezer’s “If You’re Wondering If I Want You To I Want You To” uses a combination of diatonic and borrowed chords in the key of D Major. The use of the borrowed chord from the parallel minor key contributes to the unique sound of the progression.

“Anti-Hero,” a standout track from Taylor Swift, exemplifies her mature songwriting style that merges introspective lyrics with intricate harmonies. This song’s verse utilizes a chord progression that creates a rich emotional landscape, perfectly complementing the themes of self-reflection and personal imperfection. The progression, while rooted in the traditional pop structure, employs extended chords to enhance its lyrical narrative, adding layers of complexity that resonate with listeners.

Taylor Swift’s “Black Dog” features a verse chord progression that is both simple and evocative, utilizing variations of the tonic chord to create a sense of movement and build tension before resolving into more straightforward chord changes. This kind of progression is characteristic of songs that aim to evoke a contemplative or narrative-driven mood, which is a frequent theme in Swift’s songwriting.

Beck – Ramona – Verse

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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

Chord Progression Analysis

G (I), Bm (iii), E (VI), Am (ii), C/G (IV6), Eb/Bb (bVI6/5), Bb (bIII), Dm (v), G (I), G (I), Bm (iii), E (VI), Am (ii), C/G (IV6), Eb/Bb (bVI6/5), Bb (bIII), Dm (v), G (I)

Borrowed Chord:
`Eb/Bb (bVI6/5)`

Similar Chord Progressions

1. Radiohead – “Karma Police” – [‘Am’, ‘Dm’, ‘Em’, ‘G’, ‘Am’, ‘C/G’, ‘D/F#’, ‘B7’, ‘F#m7’, ‘E’]

Am (i), Dm (iv), Em (v), G (VII), Am (i), C/G (III6), D/F# (IV6/4), B7 (II7), F#m7 (vi7), E (V)

2. The Beatles – “Something” – [‘C’, ‘Cmaj7’, ‘C7’, ‘F’, ‘D7’, ‘G’, ‘Am’, ‘Am(maj7)’, ‘Am7’, ‘Am6’]

C (I), Cmaj7 (Imaj7), C7 (I7), F (IV), D7 (II7), G (V), Am (vi), Am(maj7) (vi(maj7)), Am7 (vi7), Am6 (vi6)

3. The Beach Boys – “God Only Knows” – [‘A’, ‘Bm’, ‘C#m’, ‘Bm’, ‘E’, ‘E6’, ‘D6’, ‘F#m’, ‘G’, ‘G#’, ‘E/G#’]

A (I), Bm (ii), C#m (iii), Bm (ii), E (V), E6 (V6), D6 (IV6), F#m (vi), G (bVII), G# (VII), E/G# (V6/5)

These similar chord progressions encompass various techniques and harmonic choices, such as borrowed chords, modal interchange, and voice-leading that are found in Beck’s “Ramona” progression.

Musical Analysis

This progression begins with a I-iii-VI transition, introducing a common-tone borrowing in the VI chord (E), which is typically Em in the key of G major. Following this, a ii-IV6 progression occurs before moving into another surprise with the borrowed bVI6/5 chord, which adds an Eb element from outside the key of G major. The piece then moves to a bIII chord before resolving to a v chord. The progression then loops back to G major, solidifying the tonal center.

Overall Analysis

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.

Style Analysis

This chord progression showcases Beck’s unique blend of traditional and experimental compositional techniques. It starts out fairly conventional, with diatonic chords and voice-leading between upper structure triads. However, the introduction of borrowed chords and unexpected harmonies takes the listener on a more adventurous journey, highlighting Beck’s creative approach to songwriting.

Chords in the Verse 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