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Related Music Theory Alchemy

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 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.

“Purple Haze” by Jimi Hendrix is a classic and influential rock song released in 1967. The chord progression featured in Verse 3 of this song has a bluesy, psychedelic sound that typifies Hendrix’s style. The use of the E7#9 chord, also known as the “Hendrix chord,” adds a sense of tension and dissonance, which contributes to the edgy and innovative nature of the song.

“Yet Again” by Grizzly Bear uses a repetitive verse structure that has a fairly common, major-oriented progression, but develops interest by alternating the exact sequence of chords that it employs. This gives the song a haunting but familiar atmosphere. The mixture of minor and major chords, along with the presence of a borrowed chord, creates tension and release within each verse.

The chord progression of the given segment from Muse’s “Apocalypse Please” reflects the band’s signature blend of rock, electronic, and classical music. The progression is in the key of F# minor and features some chromaticism and modal mixture, which is quite common in their style of music. The harmonic rhythm is mostly consistent, and the chords utilized provide a strong sense of direction and resolution throughout the verse.

Beck – Sexx Laws – Verse 3

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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 (VII), F# Major (V)

`G# Major (VI+)` is a borrowed chord from the parallel minor key.

Similar Chord Progressions

– Radiohead – “No Surprises”: [‘F’, ‘Am’, ‘E’, ‘F’, ‘Am’, ‘E’, ‘F’, ‘C’]
F Major (I), A Minor (III), E Major (V+/IV), F Major (I), A Minor (III), E Major (V+/IV), F Major (I), C Major (V)

– The Beatles – “Blackbird”: [‘G’, ‘A’, ‘C#m’, ‘G’, ‘A’, ‘C#m’, ‘B’, ‘G’]
G Major (I), A Major (II), C# Minor (iv), G Major (I), A Major (II), C# Minor (iv), B Major (III), G Major (I)

Both of these examples feature borrowed chords and utilize chromatic mediants to create tension in their chord progressions, similar to “Sexx Laws” by Beck. They show how artists from various musical styles and eras have employed these techniques to create unique and engaging harmonic movement in their songs.

Musical Analysis

The verse 3 chord progression starts with the tonic B Major, establishing a strong sense of tonality. The progression then moves to G# Major, a chromatic mediant relationship. This borrowed chord from the parallel minor key adds a sense of surprise and tension. The pattern repeats twice, further accentuating the tension.

The progression then moves to A Major, the subtonic, which is commonly found in modal interchange as well as rock and pop music, creating a sense of movement towards the dominant. The verse finally resolves to the dominant, F# Major, creating a sense of resolution and anticipation for the next section of the song.

Overall Analysis

“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.

Style Analysis

The use of borrowed chords is a common feature in Beck’s music, which often experiments with various musical styles and techniques. The presence of the chromatic mediant relationship in the progression adds a touch of unpredictability commonly found in Beck’s style. The song comfortably combines elements of rock, pop, and funk, with a particular emphasis on the funky groove that drives its momentum.

Chords in the Verse 3 section of Sexx Laws by Beck are:

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