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The outro of “Kashmir” by Led Zeppelin features a simple alternating chord progression between G major and A major, which creates tension by avoiding a resolution to the tonic or dominant chords. This makes the progression sound unstable, yet well defined as it repeats. The recurring ascending motion creates a sense of lift throughout the outro, while the lack of a true resolution maintains a feeling of unease. This progression is notable for its simplicity, as well as how it invokes a modal sound that is characteristic of the mixolydian mode often used in rock music.

“Since I’ve Been Loving You” by Led Zeppelin is a slow blues ballad with a rich harmonic palette, featuring expressive guitar solos and a passionate, longing vocal performance. The song is characterized by its use of chromaticism, borrowed chords, and seventh chords, which contribute to its intense, bluesy atmosphere. The chord progression for Verse 2 displays a moody and introspective tone, which serves as the perfect backdrop for the plaintive lyrics and the emotional solos throughout the piece.

Led Zeppelin – Kashmir – Main Riff

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Chord Progression

A, A#, B, C, D

Chord Progression Analysis

– D5/Dsus4 (‘I’ no 3rd)
– D#dim/D#sus2 (‘bII’ diminished, no 3rd)
– E5/Esus4 (‘II’ no 3rd)
– Fmaj (‘bIII’)
– Gmaj/Gsus4 (‘IV’)

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The D#dim chord is a borrowed chord from the D Phrygian scale.
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Similar Chord Progressions

1. David Bowie – “Blackstar”
– Bmaj (‘I’)
– Bm (‘i’)
– A (‘bVII’)
– E (‘IV’)

2. Radiohead – “Paranoid Android”
– Gmin (‘i’)
– G#maj/A♭maj (‘II♭’)
– B♭maj (‘III♭’)
– Fmaj (‘VI♭’)

While these songs do not share the same exact chord progression as “Kashmir,” they also demonstrate stylistic attributes such as the fusion of Eastern and Western music, experimental chord progressions, and blending of rock and non-rock elements. These similarities illustrate the widespread impact of Led Zeppelin’s creative approach to music composition and their enduring influence on subsequent artists.

Musical Analysis

The main riff of “Kashmir” stands out due to its chromatic ascent and the use of unconventional chords that create an eastern-tinged and captivating sound. The lack of the 3rd interval in some chords (D5, Esus4, and Gsus4) adds ambiguity and creates a distinctive sonic texture.

The D Mixolydian mode is prevalent throughout the song, giving it an edgy and slightly unresolved feeling relative to the more common major and minor scales. The bIII and bII chords seem borrowed from Dorian and Phrygian scales respectively, enhancing the exotic flavors inherent in the composition.

Overall Analysis

“Kashmir” is often regarded as one of Led Zeppelin’s greatest creations, featuring a unique chord progression, distinctive rhythmic patterns, and a fusion of Eastern and Western musical elements. Composed in DADGAD tuning, the song is in the key of D Mixolydian and reflects the band’s experimental approach to songwriting and genre-blending. Although the chord progression may be seen as unconventional in rock music, it is effective in establishing a hypnotic and evocative atmosphere.

Style Analysis

“Kashmir” is an exemplary representation of Led Zeppelin’s ability to merge Eastern and Western musical influences. The use of DADGAD tuning, tabla and tamboura in the instrumentation, incorporation of modal scales, and employment of rhythmic cycles inspired by Indian classical music, all contribute to the song’s distinctive sound.

Psychedelic and progressive rock characteristics are also evident in “Kashmir,” showcasing the band’s willingness to defy genre expectations and create innovative music that transcends categorization.

Chords in the Main Riff section of Kashmir by Led Zeppelin are:

A, A#, B, C, D