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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 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.

“Maxwell’s Silver Hammer” is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by Paul McCartney. The song is primarily in the key of D Major and exhibits a mix of major, minor, and dominant seventh chords. This verse progression manifests the distinctive Beatles’ sound which often includes chromaticism and prevalence of secondary dominants that link the chords together, giving a smooth flow and color to the harmonic progression.

The given chord progression for Tyler, The Creator’s “Gone Gone” verse 2 is primarily in the key of Bb major with a mixture of chords from other modes. The progression displays a combination of diatonic and borrowed chords, exhibiting the stylistic blending commonly found in modern music such as jazz, R&B, and hip-hop.

“Paper Tiger” by Beck is a unique and stylistic piece, displaying a blend of various genres and influences. The verse 2 chord progression is quite simple, but the harmonic choices create tension and provide a sense of movement throughout the progression. Combining the elements of rock, folk, and alternative music, this chord progression is both intriguing and musically satisfying.

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