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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 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 Verse 2 of “Get You” by Daniel Caesar features some interesting and often non-diatonic chords. It provides a smooth and lush sound that complements the rest of the song. This progression shows influences from R&B and neo-soul genres, which often use extended and borrowed chords.

The verse 2 chord progression in “Can’t Take My Eyes Off You” by Muse follows a typical jazz/pop style with the use of extended and altered chords such as Major 7th and minor 7th ♭5 chords. It also features a variation in line with the different sections of the piece.

The chord progression in verse 2 of Stephen Sanchez’s “Until I Found You” is tonal and grounded in the key of G major throughout. The progression follows a strong, clearly structured pattern with repeated use of the G, Bm, C chords and a concluding D chord used to transition to the following sections. Stephen Sanchez makes significant use of the I-iii-IV chord progression in G major (G-Bm-C), which gives the song its flowing, harmonically stable character.

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