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Related Music Theory Alchemy

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 bridge of Beck’s “Think I’m In Love” is an interesting combination of chords, showcasing unusual harmonic choices and unexpected modulations. The tonal center of this progression appears to be ambiguous, as several key centers are explored throughout the progression, creating a sense of harmonic tension and release.

“Guilty as Sin?” by Taylor Swift uses a chord progression in the verse that reflects a more nuanced and reflective approach, suitable for a song with a contemplative or emotive theme. The interplay between minor and major seventh chords creates a lush, complex sound that elevates the song’s introspective and somewhat moody lyrical content.

The chord progression in Radiohead’s “You And Whose Army” showcases the band’s unique style of blending chord progressions from different key centers, as well as their tendency to use borrowed chords. The progression consists largely of diatonic chords from the key of C# minor, but also features a few borrowed chords from D# minor and the parallel major key, C# Major.

“Tiny Dancer” by Elton John, written in the key of C Major, is a classic example of elaborate pop song writing. The chord progression features common primary and secondary chords in the key of C Major, along with some borrowed chords to add color. This combination makes for a memorable and melodic song.

The most unique feature of the song is how it slowly changes to the key of C minor in the second half of the verse, making use of two borrowed chords. This is a powerful tool in songwriting, as it can dramatically affect the emotional tone of the song. Lastly, this song demonstrates Elton John’s use of Coloristic harmony, through chromatically altered chords.

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