Music Theory Alchemy

Search

Related Music Theory Alchemy

The chord progression in the intro of “Loner” by Kali Uchis is a mixture of simple diatonic harmony and some more complex non-diatonic chords, which creates a jazzy and ethereal atmosphere. It is a 4-chord progression that resolves on F#m, making it a loop. The style of this progression is reminiscent of the Neo-Soul genre, and it can be found in some other songs across various musical styles.

The chord progression in the intro of “After the Storm” by Kali Uchis showcases a mix of diatonic and chromatic movements, borrowing elements from jazz and R&B. The use of 7th chords and an augmented chord suggests a harmonically rich and colorful tonality, creating an intriguing atmosphere that captures the listener’s attention.

Vance Joy’s “Riptide” is a remarkably simple yet highly effective song written in the key of C Major. The song follows a repetitive I-vi-IV chord progression, which is only varied in the bridge where a minor seventh chord introduces tension before leading back to the song’s major tonality.

The chord progression in the chorus of “Ramona” by Beck is an interesting mix of diatonic and borrowed chords that creates a unique and somewhat unexpected harmonic landscape. It combines major and minor chords, borrowed chords from the parallel minor key, and chromatic chords, making a rich harmonic texture.

The song “Space Oddity” by David Bowie features a complex and varied chord progression that incorporates elements of both traditional and experimental popular music. The song is in the key of C Major, and its progression is characterized by the use of modal interchange, or the borrowing of chords from parallel scales. This is indicative of Bowie’s varied musical influences, combining elements of folk, rock, and pop while also incorporating experimental techniques associated with progressive rock.

Kali Uchis – Loner – Chorus

Add To Favorites Remove From Favorites

< All Analyses

Chord Progression

Amaj7, Abaug, Abm, F#m, Amaj7, Ab, Abm, F#m, Amaj7, Ab, Abm, F#m

Chord Progression Analysis

A Major 7 (I), A Flat Augmented (bVI+), A Flat Minor (bVI-), F Sharp Minor (vi), A Major 7 (I), A Flat (bVI), A Flat Minor (bVI-), F Sharp Minor (vi), A Major 7 (I), A Flat (bVI), A Flat Minor (bVI-), F Sharp Minor (vi)

Borrowed Chords:
“`
A Flat Augmented (bVI+)
A Flat Minor (bVI-)
A Flat (bVI)
“`

Similar Chord Progressions

1. “Put It All on Me” by Ed Sheeran (ft. Ella Mai): [‘Gmaj7’, ‘Bm7’, ‘Em7’, ‘Amaj7’]
2. “Sara Smile” by Hall & Oates: [‘Dmaj7’, ‘Gmaj7’, ‘F#m’, ‘Gmaj7’, ‘Em7’]

While the exact progression in “Loner” is unique, these examples show arrangements with extended chords and the use of the I – vi progression, which are stylistically similar.

Musical Analysis

The progression begins with the tonic, A Major 7, establishing the tonality of the piece. The A Flat Augmented chord creates an interesting juxtaposition, borrowing the bVI+ from the parallel minor scale (A minor). Following this, the Abm chord is the bVI- in relation to the tonic, creating a brief moment of harmonic tension before resolving to the F Sharp Minor (vi) chord.

The Amaj7, Ab, Abm, and F#m repetition adds a sense of familiarity to the progression, while still maintaining its unique quality. The borrowed chords from parallel minor scales bring an added emotional depth and character to the progression.

Overall Analysis

The chord progression in Kali Uchis’ “Loner” features a mix of major, minor, and augmented chords, which contributes to the song’s unique sound and emotional depth. The progression has an unconventional and intriguing quality, while still maintaining a sense of harmonic coherence.

Style Analysis

The chord progression in Kali Uchis’ “Loner” reflects elements of R&B, soul, and jazz. The use of extended chords (such as Amaj7) and borrowed chords from parallel minor scales contribute to the song’s lush, expressive quality commonly found in these genres.

Chords in the Chorus section of Loner by Kali Uchis are:

Amaj7, Abaug, Abm, F#m, Amaj7, Ab, Abm, F#m, Amaj7, Ab, Abm, F#m