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Related Music Theory Alchemy

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.

The chord progression in Beck’s “Morning” is a 9-chord progression in the key of A major. This chord progression employs borrowed chords and has a unique structure that includes secondary dominant chords and mediant substitutions. The chords are mostly major with a mix of some minor chords.

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.

Verse 2 of Grizzly Bear’s “Yet Again” presents a straightforward harmonic progression that is common in pop and indie rock music. This series of chords is mainly built around the key of A minor, and uses diatonic chords (those that naturally occur within the key) of this key. The recurring sequence (Am, G, C, F, F, Em, C, Dm) indicates a strong sense of familiarity and predictability, characteristic of many pop/rock anthologies.

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

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#