Music Theory Alchemy

Search

Related Music Theory Alchemy

“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.

“Guilty as Sin?” by Taylor Swift uses a chord progression in the verse that reflects a more nuanced and reflective approach, suitable for a song with a contemplative or emotive theme. The interplay between minor and major seventh chords creates a lush, complex sound that elevates the song’s introspective and somewhat moody lyrical content.

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.

“After You’ve Gone” is a jazz standard composed by Django Reinhardt. The verse progression of the song uses a combination of major, minor and dominant chords with some borrowed chords and secondary dominants, which is a hallmark of early jazz and swing music. The harmonic rhythm is mainly at a pace of one or two chords per bar, with occasional faster changes. The piece has a strong sense of tonal center around the key of G major.

Grizzly Bear – Two Weeks – Verse

Add To Favorites Remove From Favorites

< All Analyses

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’]