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Related Music Theory Alchemy

The chord progression in the chorus of Kali Uchis’ “After The Storm” features a repeating progression of Am7, Bm7, and Eaug that occurs three times, with slight variations in harmony and tonality. It is a unique and interesting progression that creates tension through the use of both minor 7th and augmented chords. The overall style evokes a dreamy, jazzy atmosphere with elements of R&B and soul.

The chord progression in the verse of “Telepatia” by Kali Uchis showcases a mix of diatonic and chromatic harmony. The progression is built around the key of G Major and has a strong Latin and jazz-influenced sound. The use of extended chords like Gmaj7 and Em9 adds depth and sophistication to the harmony, while the non-diatonic B7 contributes to the tension and resolution.

The song “Ceilings” by Lizzy McAlpine utilizes fairly simple, yet effective, chord changes that are quite common in popular music. This progression primarily takes place in the key of G major, but borrows chords from the parallel minor scale and adds extensions to the chords to add depth and color.

“Sorry Seems to Be The Hardest Word” is in the key of E minor and shifts to the relative major (G major) at various points, it demonstrates Elton John’s mastery of the line between major and minor keys. It’s a melancholic song with a moderate tempo. The use of both minor and major chords in Elton John’s progression signifies the tension and release in the song’s melody and lyrics.

The verse 2 chord progression of Radiohead’s “Everything In Its Right Place” demonstrates a combination of diatonic and non-diatonic chords with tonal ambiguity, frequent use of borrowed chords from parallel modes, and modulation. The progression has a cyclic, hypnotic quality with occasional surprises due to large leaps in pitch and unexpected, non-diatonic chords.

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