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The given chord progression is from Beck’s song “Sexx Laws” and runs as follows: B, G#, B, G#, B, G#, A, F#. This progression features chords mainly from the B Major key, but includes borrowed chords from the parallel minor key as well. The harmonic movement showcases Beck’s interesting approach to songwriting and shows some influence from the soul and funk genres.

The chord progression in the verse 2 of Beck’s “Morning” is an example of a common progression in popular music, involving the I, IV, iii, and ii chords. The harmony is mostly diatonic, staying within the key of E major. The progression features regular 4-chord phrases and a smooth, consonant flow between chords.

Elton John’s melody for “Your Song” is an elegant example of varied harmonization and creative chord usage. The verse chord progression is in the key of D Major, but employs the use of borrowed chords and modulation for enhancing musical flavour and interest.

The song “Don’t Let the Sun Go Down on Me” by Elton John is brilliantly harmonized, showcasing the great musical arrangement skills of John at his best. Primarily, the song is based in the key of C Major and uses a variety of moving bass lines over mostly diatonic chords in the verses and choruses. There are some key modulations and borrowed chords that give the harmony a rich and complex quality which sets it apart from many contemporary pop songs.

Verse

“The Long and Winding Road” by The Beatles is an iconic pop ballad renowned for its rich harmonic content. It employs both modal interchange and secondary dominants, thus securing its place as an exemplary piece in pop music harmony. Its dominant tonality is D Major, however, it makes use of many borrowed chords.

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#