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The chord progression in Verse 3 of Daniel Caesar’s “Get You” consists of a mix of diatonic chords and borrowed chords from the parallel minor. The overall tonality is in the B minor key. The smooth, soulful sound of the progression is achieved through the use of minor chords, mixed with major seventh chords, and the cycle of fifths progression in some measures.

The song “Get You” by Daniel Caesar features a smooth and soulful chord progression that reflects the style of contemporary R&B and neo-soul. The chords provide a sense of warmth and sincerity that complements the song’s intimate lyrics. The progression is primarily diatonic, but with some borrowed chords, which adds an interesting color to the music.

“Creep” by Radiohead is a song in the key of G major that features a four-chord progression in its verse 2, which is distinctive for its use of a borrowed chord from the parallel minor (G minor). Although the song’s simple harmonic structure is quite common in pop music, its use of a borrowed chord adds an element of surprise and emotional depth, establishing Radiohead’s unique sound.

“Hallelujah” is a song by singer-songwriter Jeff Buckley and is a cover of a song originally written by Leonard Cohen. The song is in the key of C major and features a moderate tempo with a 6/8 time signature. This particular chord progression, taken from the second verse, consists mainly of diatonic chords found within the key, but also includes a few borrowed chords and a secondary dominant, giving the song a sense of tension and release.

“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.

Daniel Caesar – Get You – Verse 2

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Chord Progression

Em, F#m7, Bm, A7, Em, F#m7, Bm, A7, Em, F#m7, Bm, A7, Em, F#m7, Bm, A7

Chord Progression Analysis

E minor (i), F# minor 7 (ii7), B minor (v), A7 (IV7), and the progression is repeated four times in Verse 2.

Similar Chord Progressions

1. D’Angelo – “Untitled (How Does It Feel)”
Chord Progression: C#m7 (i7), F#m11 (iv11), E6 (bIII6), G#11 (VI11), C#m9 (i9), G#7 (VI7)

2. Erykah Badu – “Next Lifetime”
Chord Progression: Em7 (i7), Gmaj7 (bIIIΔ7), Bm7 (v7), F#m7 (ii7), B9 (V9)

3. Frank Ocean – “Ivy”
Chord Progression: E maj (I), G maj (bIII), C#m7 (vi7), F#m7 (ii7), B7 (V7)

These chord progressions share similarities in their use of mode mixture, borrowed chords, and rich extended harmonies often found in R&B and neo-soul music.

Musical Analysis

The progression begins in the key of E minor, starting with the tonic (i) chord. Then, the progression moves to F#m7, the ii7 chord of E Dorian. This provides a jazzy and unexpected sound while borrowing from the Dorian mode. After that, we have the v chord (Bm) providing tension. Lastly, we have a borrowed A7 (IV7) dominant chord, which resolves the tension and heads back to the beginning of the progression, creating a loop.

In this progression, there are two borrowed chords:
“`
F#m7 (ii7) – Borrowed from E Dorian
A7 (IV7) – Borrowed from E Major
“`

Overall Analysis

The chord progression in Verse 2 of “Get You” by Daniel Caesar features some interesting and often non-diatonic chords. It provides a smooth and lush sound that complements the rest of the song. This progression shows influences from R&B and neo-soul genres, which often use extended and borrowed chords.

Style Analysis

This chord progression features elements of R&B and neo-soul, which are known for their lush textures and creative use of non-diatonic chords and borrowed chords. The combination of mode mixture and borrowed chords create an emotional and sophisticated sound that’s distinctive of Daniel Caesar’s music.

Chords in the Verse 2 section of Get You by Daniel Caesar are:

Em, F#m7, Bm, A7, Em, F#m7, Bm, A7, Em, F#m7, Bm, A7, Em, F#m7, Bm, A7