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Related Music Theory Alchemy

The chord progression in the outro of “After The Storm” by Kali Uchis is a relatively simple and concise one, having just three chords: G#m7, A#m7, and D#aug. Considering that the key of this song is G# minor, the progression makes use of diatonic and non-diatonic chords. Moreover, incorporating an augmented chord lends a feeling of tension and anticipation that makes the outro stand out.

The chord progression in the bridge of Kali Uchis’ “After The Storm” consists of two alternating chords, Amaj7 and Dmaj7, played repeatedly. This progression is simple yet effective, creating a smooth and mellow atmosphere that matches well with the song’s overall neo-soul and R&B vibe. The arrangement is in the key of A Major and has a diatonic structure without any borrowed chords.

“Let It Be” by The Beatles uses some of the most common chords in the key of C Major, which is the tonic of the song. It also contains few instances of chord extensions, inversions, and secondary dominants, which are widely used in pop music composition.

“Come Together”, released by The Beatles in 1969 on their Abbey Road album, is a rock song known for its catchy bass-line, cryptic lyrics and iconic chorus. It’s written in D minor key, a common key in rock music. Across the progression, there is not only an interesting mix of different chords but also a novel use of borrowed chords that play a significant role in making the song mysterious, intriguing, and unique.

“Wicked Game” by Chris Isaak is in the key of B minor. The chord progression for the section provided, which is the verse, is unique due to its simplicity, making it easily accessible and memorable. Even though it is incredibly simple, consisting of just three chords, the progression manages to evoke a strong sense of melancholy and longing, which resonates powerfully with the song’s lyrical themes.

Kali Uchis – After The Storm – Verse 2

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Chord Progression

G#m7, A#m7, D#aug, G#m7, A#m7, D#aug, G#m7, A#m7, D#aug, G#m, A#m7, D#aug

Chord Progression Analysis

“`
– G#m7 (i7)
– A#m7 (ii7)
– D#aug (V+)
– G#m7 (i7)
– A#m7 (ii7)
– D#aug (V+)
– G#m7 (i7)
– A#m7 (ii7)
– D#aug (V+)
– G#m (i)
– A#m7 (ii7)
– D#aug (V+)
“`

Similar Chord Progressions

1. D’Angelo – “Untitled (How Does It Feel)”, Chord Progression:
“`
– Am7 (i7)
– Bm7 (ii7)
– Eaug (V+)
– Am7 (i7)
– Bm7 (ii7)
– Eaug (V+)
“`
2. Erykah Badu – “On & On”, Chord Progression:
“`
– Bbm9 (i9)
– Db9 (IV9)
– Bbm9 (i9)
– C7#9 (bIII7#9)
“`
3. Jill Scott – “Golden”, Chord Progression:
“`
– Fmaj7 (I7)
– Gm7 (ii7)
– G#maj7(#5) (VImaj7+5)
– Gm7 (ii7)
“`

Musical Analysis

The progression follows a consistent pattern throughout. With multiple repetitions of i7-ii7-V+, the progression resolves back to the i chord again, resulting in a sense of stability. The use of the i7-ii7 chords (G#m7 and A#m7) adds more color and tension to the harmony than using simple triads would, and the D#aug chord creates an unexpected shift, adding interest to the overall progression. In the second half of the verse, the G#m chord is used instead of G#m7, which reduces the harmonic tension slightly.

Overall Analysis

The chord progression in Verse 2 of Kali Uchis’s “After The Storm” is a mix of diatonic and chromatic chords that create an interesting neo-soul groove. The harmony is primarily based on G# minor, featuring the G#m7 and A#m7 as primary chords, and the D#aug chord adds tension and release within the progression. Additionally, the use of the D#aug chord acts as a chromatic mediant between G#m7 and A#m7.

Style Analysis

Kali Uchis’s “After The Storm” can be classified as a blend of R&B and neo-soul. The chord progression, along with her soothing vocals and the use of lush keyboards, creates a laid-back atmosphere as commonly heard in these styles of music. The choice of utilizing more complex chords like 7ths and augmented chords is a signature characteristic of R&B and neo-soul, which emphasizes a more sophisticated harmonic landscape in their songs.

Chords in the Verse 2 section of After The Storm by Kali Uchis are:

G#m7, A#m7, D#aug, G#m7, A#m7, D#aug, G#m7, A#m7, D#aug, G#m, A#m7, D#aug