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The modality of the song “Yet Again” by Grizzly Bear is primarily in A minor, which makes it a piece in the minor modality. This song uses several traditional progression elements, but intermixes them with unexpected changes, especially the shift from E minor to F major, and the chromatic shift from G major to B flat major.

The progression starts on the suspended II chord of the key, which anticipates resolution either to the tonic (E major) or the supertonic (F# minor). However, it instead moves to the dominant minor (C# minor), suggesting a borrowed chord from the parallel minor (E minor). The D major chord which concludes the progression is a borrowed II from E minor as well.

“Anti-Hero,” a standout track from Taylor Swift, exemplifies her mature songwriting style that merges introspective lyrics with intricate harmonies. This song’s verse utilizes a chord progression that creates a rich emotional landscape, perfectly complementing the themes of self-reflection and personal imperfection. The progression, while rooted in the traditional pop structure, employs extended chords to enhance its lyrical narrative, adding layers of complexity that resonate with listeners.

The Verse of “Us and Them” by Pink Floyd showcases a unique and non-diatonic chord progression that focuses on D mixolydian mode with added sus2 chords and an augmented chord. It deviates from traditional harmony patterns and creates a spacious, floating feel. The chords occur in a consistent pattern and are mostly slash chords with the constant presence of the D note in the bass, which further strengthens the D tonality.

Grizzly Bear – Two Weeks – Verse

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Chord Progression

[‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’]

Chord Progression Analysis

Let’s break this down in terms of the roman numeral analysis using the key of F Major:

“`
F Major (I)
A minor (vi)
C Major (V)
F Major (I)
A minor (vi)
C Major (V)
F Major (I)
A minor (vi)
C Major (V)
F Major (I)
A minor (vi)
C Major (V)
“`

No borrowed chords are being used in the verse.

Similar Chord Progressions

1. Journey – “Don’t Stop Believing” (I-V-vi-IV)
2. The Beatles – “Let It Be” (I-V-vi-IV)
3. Madonna – “Like A Prayer” (I-V-vi-IV)
4. Maroon 5 – “She Will Be Loved” (I-V-vi-IV)

For these songs, the chord progressions are as follows:

“`
Journey – “Don’t Stop Believing”: G Major (I) – D Major (V) – E minor (vi) – C Major (IV)

The Beatles – “Let It Be”: C Major (I) – G Major (V) – A minor (vi) – F Major (IV)

Madonna – “Like A Prayer”: C Major (I) – G Major (V) – A minor (vi) – F Major (IV)

Maroon 5 – “She Will Be Loved”: B Major (I) – F# Major (V) – G# minor (vi) – E Major (IV)
“`

Note that the progression here is a bit different, going I-V-vi-IV instead of I-vi-V in “Two Weeks”, but it pulls from the same harmonic idea.

Musical Analysis

The I-vi-V progression is common in pop and rock music due to the tension and resolution it creates. This progression imparts a sense of continual forward motion, which supports the lyrical content quite well. This movement from the vi chord (Am), representing a relative minor, to the V chord (C), creates tension, and returning back to the I chord (F) brings closure to each phrase.

Overall Analysis

“Two Weeks” by Grizzly Bear exhibits a common pop chord progression and harmonic rhythm. The chords are primarily in root position, which contributes to the song’s straightforward and accessible sound. Stylistically, the track shows the band’s indie-rock influences and features a prominent piano part that drives the harmony.

Style Analysis

“Two Weeks” exemplifies Grizzly Bear’s unique indie rock sound, which often involves lush harmonies and intriguing harmonic progressions. The use of the I-vi-V progression helps to contribute a strong sense of tonality to the song, lending it an infectious energy that complements the airy and effortlessly graceful melodic line.

Chords in the Verse section of Two Weeks by Grizzly Bear are:

[‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’, ‘F’, ‘Am’, ‘C’]