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Related Music Theory Alchemy

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 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.

“Everything In Its Right Place” by Radiohead is an experimental and ambient piece released in 2000 as part of their album “Kid A.” The piece defies traditional pop and rock song forms, delving more into the territory of electronic and experimental music. The outro chord progression is simple but intriguing, serving a hypnotic and unresolved quality that keeps the listener engaged.

“Someone to Love” by Queen exhibits a blend of rock and gospel music, showcasing their musical brilliance and theatrical elements. The chord progression forms a classic example of a departure from the typical I-IV-V root progression seen in much of popular western music, demonstrating Queen’s ingenious writing style.

The outro of George Benson’s “Give Me The Night” features a smooth, soulful chord progression that is common to jazz, R&B, and pop music. The progression has a descending movement with alternating minor 7th and major 7th chords. This repetition creates a sense of ambience and resolution, making it an ideal conclusion to the song.

Kali Uchis – Telepatia – Outro

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Chord Progression

Gmaj7, B7

Chord Progression Analysis

G major 7 (Imaj7) – B dominant 7 (III7)

Borrowed Chords:
None

Similar Chord Progressions

1. Billie Eilish – “Ocean Eyes”: Emaj7 (Imaj7) – G#7 (III7)

2. Amy Winehouse – “Just Friends”: Cmaj7 (Imaj7) – E7 (III7)

Musical Analysis

The outro of “Telepatia” starts with a Gmaj7 chord that has a dreamy and relaxed sound, partly due to the major 7th interval of the chord. It then goes to the B7 (a dominant seventh chord) which creates a sense of tension and adds an interesting color to the harmony. This progression then repeats throughout the outro. Despite only having two chords, it creates an intriguing and evocative mood fitting the overall vibe of the song.

Overall Analysis

Kali Uchis’ “Telepatia” features a relatively simple two-chord progression in the outro, consisting of a major seventh chord followed by a dominant seventh chord. The harmonic texture is sparse yet effective, with a unique, ethereal atmosphere created by the interplay between the two chords.

Style Analysis

Kali Uchis’ music is known for its eclectic fusion of various styles such as R&B, soul, and Latin music. The choice of chord progression in the outro reflects this, as it’s not a typical progression found in any specific genre. Instead, its unique sound and simplicity create a distinct atmosphere that blends well with her soulful voice and the electronic-inspired production.

Chords in the Outro section of Telepatia by Kali Uchis are:

Gmaj7, B7