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Related Music Theory Alchemy

The Wind Cries Mary by Jimi Hendrix is a rock ballad with elements of blues, featuring a unique and expressive chord progression. The song is in the key of F major and the verse progression consists of 25 chords. The progression is largely diatonic, but includes chromatic lines and borrowed chords, which give the piece a rather unpredictable yet emotive quality.

“Purple Haze” by Jimi Hendrix is a classic example of psychedelic rock and blues-infused music from the late 1960s. This particular chord progression, found in Verse 2, demonstrates Hendrix’s innovative approach to harmony and showcases his integration of blues and rock influences.

Chord Progression Analysis (Roman Numerals):
E7#9 (I), G (bIII), A (IV), E (I)

Borrowed Chord:
`G (bIII)` – This chord is borrowed from the parallel minor key of E minor.

“Wild Horses” is a song by the rock band Rolling Stones from their 1971 album “Sticky Fingers”. It is a great example of the band’s adeptness not only at writing catchy rock songs but also at creating complex and interesting chord progressions. The song is in the key of G major. The verse progression is interesting with the use of the B minor chord (Bm), which is the iii chord in the key of G major – a chord that isn’t commonly used in popular music.

“Yesterday” is predominantly composed in the key of F Major. The song is a classic in pop songwriting and showcases the effective use of borrowed chords to capture a unique, nostalgic sound that has made it one of the most covered songs in pop music. Specifically, in this verse, the use of secondary dominants and borrowed chords from the parallel minor key provides the song’s distinctive tonal color.

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“Castles Made of Sand” by Jimi Hendrix is a psychedelic rock song characterized by various compositional techniques including chromaticism, borrowed chords, and unexpected chord progressions. The harmonic choices show Hendrix’s innovation as a songwriter, with influences of blues, rock, and jazz. The chord progression in Verse 3 mixes diatonic and non-diatonic chords, creating a sense of tension and release throughout the progression.

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Jimi Hendrix – The Wind Cries Mary – Verse 3

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Chord Progression

C, B, Bb, F, C, B, Bb, F, C, B, Bb, F, G, Bb, Eb, E, F, G, Bb, Eb, E, F, Eb/G, E/G#, F/A

Chord Progression Analysis

C Major (I), B Major (V/vi), Bb Major (bVII), F Major (IV),
C Major (I), B Major (V/vi), Bb Major (bVII), F Major (IV),
C Major (I), B Major (V/vi), Bb Major (bVII), F Major (IV),
G Major (V), Bb Major (bVII), Eb Major (bIII), E Major (III),
F Major (IV), G Major (V), Bb Major (bVII), Eb Major (bIII),
E Major (III), F Major (IV), Eb Major/G (bIII/1st inversion), E Major/G# (III/1st inversion), F Major/A (IV/1st inversion)

`Borrowed Chords: B Major, Bb Major, Eb Major`

Similar Chord Progressions

1. The Beatles – “While My Guitar Gently Weeps”
Am (i), A (V/III), G (bVII), D (IV), E (V), G#o (viio/v), C#m (iii), C#m (iii)

2. Radiohead – “Karma Police”
A minor (i), A minor/Maj7 (i/Maj7), A7 (V/IV), D (IV), G (bVII), F#m7b5 (viø), C (bIII), E (V)

In these examples, both The Beatles and Radiohead employ borrowed chords and chromatic harmony to create a unique and evocative sound, similar to “The Wind Cries Mary” by Jimi Hendrix.

Musical Analysis

This chord progression showcases Hendrix’s mastery of chromatic harmony. He effectively uses borrowed chords, such as the B Major, Bb Major, and Eb Major, to create tension that resolves back to the diatonic chords (C, F, and G). The repeated pattern of moving down by half-steps from C to B to Bb helps create a smooth progression and gives the verse a sense of direction. The use of first inversion chords in the final series of chords (Eb/G, E/G#, and F/A) adds further harmonic interest and supports the melody.

Overall Analysis

“The Wind Cries Mary” by Jimi Hendrix is a classic example of the blending of blues, rock, and pop elements that characterizes Hendrix’s unique style. The chord progression in Verse 3 demonstrates Hendrix’s use of non-diatonic chords and chromatic harmony, while maintaining a strong sense of tonality and harmonic progression. The unconventional chord progression and the expressive guitar work contribute to the song’s lasting appeal.

Style Analysis

Hendrix’s chord progression in this verse blends elements of blues, rock, and pop. The borrowed chords and chromatic harmony are reminiscent of the blues tradition, while the strong sense of tonality and diatonic resolution exhibit traits of rock and pop music. The simplicity of the primary chords (C, F, and G) is contrasted by the complexity of the borrowed chords, creating a unique sound that is characteristic of Hendrix’s style.

Chords in the Verse 3 section of The Wind Cries Mary by Jimi Hendrix are:

C, B, Bb, F, C, B, Bb, F, C, B, Bb, F, G, Bb, Eb, E, F, G, Bb, Eb, E, F, Eb/G, E/G#, F/A