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Related Music Theory Alchemy

“Sexx Laws” by Beck is a unique and interesting piece that combines elements of various musical styles including funk, rock, and pop. The chord progression found in Verse 3 is quite simple yet effective, creating a sense of tension and release.

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.

“All My Loving” by The Beatles is a mid-tempo pop song written in the key of E minor for the verse and D Major for the bridge and outro, featuring a distinct, upbeat walking bassline. The grey, almost mournful verses, along with the brighter, major-toned bridges and chorus, create a juxtaposition of feelings within the piece. The bridge also highlights The Beatles’ use of secondary dominants and chromaticism. Concluding in the tonic key of D Major, the song has an interesting interplay between Em and D Major throughout, which could be perceived as a Em: i, VI, III, II and D: vi, V7, I, vi, IV, ii, I progression.

“Landslide” by The Smashing Pumpkins is a cover of a popular folk-rock song by Fleetwood Mac. In this song, The Smashing Pumpkins show their alternative rock style, while also paying homage to the folk-rock genre and especially to the founder of Folk-Rock “Fleetwood Mac”. The chords used throughout the song are predominantly composed in the key of G major, with the occasional use of a common borrowed chord (Am) from the G minor key.

The verse 2 chord progression from Muse’s “New Born” reflects their signature harmonic daring and interesting relationships, which provides this piece with a fresh and captivating sound. The progression features a blend of diatonic and non-diatonic chords, as well as key shifts and chromaticism. It utilizes major-minor modal interchange and emphasizes the Em – B relationship throughout.

Beck – Sexx Laws – Verse 2

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Chord Progression

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

Chord Progression Analysis

B Major (I), G# Major (VI), B Major (I), G# Major (VI), B Major (I), G# Major (VI), A Major (II), F# Major (V)

“`Borrowed Chords: G# Major (bVI)“`

Similar Chord Progressions

1. “Superstition” by Stevie Wonder: Eb min7 (i), Bb7 (V), Ab min7 (bVI), Eb min7 (i)

2. “Karma Police” by Radiohead: A min (i), E min (v), G (bVII), D maj (IV), G maj (bVII), C maj (III)

These songs also utilize non-diatonic chords and borrowed chords, giving them a unique harmonic character that sets them apart from standard progressions in popular music.

Musical Analysis

The chord progression starts with the B Major tonic chord (I), which establishes a clear sense of tonality. Next, the G# Major chord is a borrowed chord (bVI) from the parallel minor key (B minor). This gives a slightly unexpected twist and a touch of darkness to the harmonic movement. The alternation between B Major and G# Major creates a sense of tension and release throughout the verse.

The movement to A Major (II) brings a little bit of surprise as it is not a typical diatonic chord in the key of B Major. This non-diatonic chord adds more interest and color to the progression. Finally, the progression resolves back to F# Major (V), which is the dominant chord and strengthens the tonality in the key of B Major.

Overall Analysis

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.

Style Analysis

Beck’s use of borrowed chords and non-diatonic harmony in “Sexx Laws” reflects his diverse musical influences, especially from soul and funk genres. The chord progression is a departure from standard pop progressions, showcasing his unique songwriting style. Beck is known for experimenting with various musical styles, and the harmonies in “Sexx Laws” are a testament to his eclectic approach.

Chords in the Verse 2 section of Sexx Laws by Beck are:

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