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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.

The provided chord progression is quite simple, with a single chord (F) repeated four times. This type of progression creates a static or stable feel, with no harmonic tension to resolve. This chord progression alone isn’t enough to give a complete musical analysis, as it’s quite minimalistic, and it’s necessary to evaluate the progression in the context of the entire song. However, I can still offer some thoughts on the progression’s possible function, style notes, and similar chord progressions.

“Goodbye Blue Sky” by Pink Floyd is a beautifully haunting piece with a chord progression that demonstrates their innovative use of borrowed chords and modulation to explore various tonal centers. The song is generally in the key of A minor.

The song “3s and 7s” by Queens of the Stone Age is in the key of A# minor. The chord progression predominantly features three chords: A#m, G#, and F. The progression utilizes elements of rock and metal music, characteristic of the band’s style. The composition has a darker feel brought by the use of minor chords and dropped tuning, which is frequently employed in harder styles of rock music.

The chord progression throughout this verse of Beck’s “Lost Cause” is predominantly in the key of F Major with some chords from its relative minor (D minor). The use of borrowed chords adds variety and color to the progression, and the alternation between F major and C major chords creates a strong sense of tonality and grounding in the key of F Major. The use of Am and E7 chords provides a brief tension and leaning toward the parallel key of F minor before resolving back to the original key. This adds interest and complexity to the otherwise straightforward progression.

Beck – Sexx Laws – Verse 1

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Chord Progression

B, G#, B, G#, B, G#, A, F#

Chord Progression Analysis

1. B Major (I)
2. G# Major (VI)
3. B Major (I)
4. G# Major (VI)
5. B Major (I)
6. G# Major (VI)
7. A Major (II – borrowed chord)
8. F# Major (V)

`[key change]`

Chord progression analysis including borrowed chord:

B Major (I), G# Major (VI), B Major (I), G# Major (VI), B Major (I), G# Major (VI), A Major (`bII` – borrowed chord from the Phrygian mode), F# Major (V)

Similar Chord Progressions

1. Radiohead – “Paranoid Android” (Verse)
Chord progression:
C minor (i), Bb Major (VII), G Major (`III – borrowed chord`), A Major (IV)

2. Stevie Wonder – “Superstition” (Main riff)
Chord progression:
E flat minor (i), Bb minor(iv), Ab minor (`bIII`, borrowed chord), A Major (`iv`, borrowed chord)

3. The Beatles – “I Want You (She’s So Heavy)” (Verse)
Chord progression:
A Minor (i), G Major (VII), D Major (`IV – borrowed chord`), A Major (I)

Musical Analysis

This progression starts by alternating between the root chord (B Major) and the major sixth (G# Major), creating a sense of tension and intrigue as it shifts the tonal center. When it reaches the A Major chord (borrowed from the Phrygian mode), it brings an element of surprise and adds chromatic interest to the progression. Lastly, the F# Major chord functions as a dominant chord, resolving back to the root B Major, giving a sense of completion and resolution.

Overall Analysis

The chord progression in the verse of Beck’s “Sexx Laws” is a blend of major and minor chords, which creates a unique and somewhat unpredictable sound. The progression shifts between the key of B major and G# minor, reflecting an adventurous approach to harmony. The style of this progression has a hint of funk and jazz, with a touch of blues.

Style Analysis

The combination of major and minor chords, as well as the presence of a borrowed chord, creates a distinct harmonic identity that can be found in several music genres, such as funk, jazz, blues, and rock. Beck is known for his ability to blend various styles and elements in his music, and “Sexx Laws” is no exception.

Chords in the Verse 1 section of Sexx Laws by Beck are:

B, G#, B, G#, B, G#, A, F#