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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.

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.

“Somewhere Only We Know” by Keane is a pop/rock song written in the key of A Major, although the chord progression given seems to be transposed to the key of C Major. It is characterized by its use of repeated motifs and sequenced chord progressions to create a sense of familiarity and typical of the pop genre.

“Kiss” by Prince is a classic example showcasing Prince’s unique and complex songwriting abilities. The song is written in the key of A major. The distinctive funk rock style is primarily expressed via dominant and suspended chords. This combined with Prince’s rhythmically tight and syncopated guitar playing gives the song its infectious groove.

The piece “When I Was Your Man” by Bruno Mars showcases a common pop ballad structure that follows a typical 4-chord progression with common tone substitution as well as some chords borrowed from the relative minor. Its simplicity is one of its strengths as it allows the focus to fall on Bruno’s vocals and the lyrics, which matches the direct, emotional content of the song effectively.

Kali Uchis – Telepatia – Verse 2

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Chord Progression

B7, Em9, G/A, Gmaj7, B7, Em9, G/A, Gmaj7, B7, Em9, G/A

Chord Progression Analysis

B7 (V7), Em9 (i9), G/A (IV11/omit3), Gmaj7 (IVmaj7), B7 (V7), Em9 (i9), G/A (IV11/omit3), Gmaj7 (IVmaj7), B7 (V7), Em9 (i9), G/A (IV11/omit3)
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Borrowed chord: G/A (IV11/omit3)
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Similar Chord Progressions

1. Erykah Badu – “On & On”
Chord Progression: Bmin9 (v9), Em9 (i9), F#m11 (ii11), Gmaj7 (IVmaj7)

2. Hiatus Kaiyote – “Nakamarra”
Chord Progression: Bmaj7 (Vmaj7), Em9 (i9), Amaj9 (IVmaj9), Gmaj7 (bIIImaj7)

3. D’Angelo – Untitled (How Does It Feel)
Chord Progression: B7 (V7), Em9 (i9), F#m7 (ii7), Gmaj7(bIIImaj7)

Musical Analysis

The progression begins with the B7, which creates tension and pulls towards the Em9 chord. The Em9 chord, being the tonic, resolves this tension and establishes the E minor tonality. The G/A chord is a borrowed chord and serves as a variation on the typical IV chord in a minor key (A minor), softening the progression’s minor tonality by introducing a major quality with the Gmaj7 following it. The cycle of tension (B7) and resolution (Em9) repeats, giving the progression a cyclical structure.

Overall Analysis

The chord progression in verse 2 of “Telepatia” by Kali Uchis is a jazz-influenced progression in the key of E minor. It features several extended chords, such as the Em9 and Gmaj7 used throughout, and a dominant chord, B7, which provides tension and resolution in the progression. The G/A chord, which is essentially an A11 chord without the 3rd, also gives the progression a sense of blending major and minor tonalities.

Style Analysis

The use of extended chords such as Em9 and Gmaj7, as well as the borrowed IV11/omit3 chord, is indicative of jazz and R&B influences in Kali Uchis’ music. Furthermore, the chord progression’s cyclical nature and harmonic complexity are typical of what one could find in neo-soul and certain pop styles.

Chords in the Verse 2 section of Telepatia by Kali Uchis are:

B7, Em9, G/A, Gmaj7, B7, Em9, G/A, Gmaj7, B7, Em9, G/A