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The chord progression in MGMT’s “Kids” is quite simple and based on a single chord throughout the instrumental sections, focusing mainly on creating a catchy melody and rhythm. The simplicity of the progression reflects the musical styles seen in synth-pop and electronic dance music genres.

The chord progression in Verse 3 of “Congratulations” by MGMT features a mix of diatonic and non-diatonic chords. The song appears to be in G major, and the progression showcases several common techniques such as the use of inversions (G/F#), borrowed chords (Dsus4), and extended chords (Em7).

“Heartbreaker” by The Rolling Stones is a rock song that exhibits some fundamental rock and blues progressions and chord changes. The chorus of the song is a three-chord progression [E, G, C] that repeats four times.

The chorus of Taylor Swift’s “Guilty as Sin?” showcases a rich and dynamic chord progression that reflects the song’s emotional intensity and narrative depth. This progression, with its interplay of major, major seventh, and minor chords, provides a musical canvas that enhances the emotional weight of the lyrics, indicative of Swift’s sophisticated songwriting approach.

“Tonight, Tonight” by The Smashing Pumpkins draws from the band’s unique style of alternative rock influenced by a distinct palette of harmonic choices. Particularly in the songwriting of Billy Corgan (the band’s primary songwriter), the band tends to use a mix of common and uncommon chords, together with a tendency of exploring different tonalities. Often, the chord changes are driven by guitar inversions, suspensions, or additions.

MGMT – Kids – Chorus

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Chord Progression

F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#

Chord Progression Analysis

F# Minor (vi) – D Major (IV) – A Major (I) – E/G# Major (V6)

“`
F#m (vi) – D (IV) – A (I) – E/G# (V6)
“`

Similar Chord Progressions

1. Coldplay – “Viva La Vida”:
F#m (vi) – D (IV) – A (I) – E (V)

2. Journey – “Don’t Stop Believin’”:
D Major (I) – Bm (vi) – G (IV) – A (V)

3. The Cranberries – “Zombie”:
Em (vi) – C(IV) – G(I) – D(V)

4. OneRepublic – “Apologize”:
Cm (vi) – Ab (IV) – Eb (I) – Bb (V)

These examples share similar chord progressions in either the same or different keys. The songs listed also showcase the ubiquitous nature of the vi-IV-I-V progression in popular music across different eras and genres. The chord sequences are known for eliciting an emotional response and creating a sense of familiarity with the listener.

Musical Analysis

The progression starts on the relative minor (F#m), creating a somewhat somber and contemplative feel before moving to the uplifting D Major chord. The shift to the tonic (A Major) establishes the tonal center and provides a sense of resolution. The final E/G# chord, with G# in the bass, adds tension and anticipation, propelling the progression back to the beginning. The movement from the F#m to D (vi-IV) is a common progression in popular music, and the overall vi-IV-I-V pattern is often associated with a sense of nostalgia or wistfulness. The repetition of this sequence throughout the chorus aids in making it memorable and engaging.

Overall Analysis

The chord progression in the chorus of “Kids” by MGMT is a repetitive and catchy sequence that features four chords, showcasing MGMT’s characteristic electronic pop and psychedelic rock sound. The progression is in the key of A Major, and the chords follow a vi-IV-I-V pattern.

Style Analysis

In terms of style, “Kids” by MGMT showcases their electronic pop and psychedelic rock influences. The song features simple, yet impactful melodies and harmonies, coupled with a driving beat and layered synths, creating a retro-futuristic soundscape. The chord progression’s repeated nature and the balance between minor and major chords are typical in pop and rock genres, while the extensive use of synthesizers and electronic elements lends itself to a modern and psychedelic feel.

Chords in the Chorus section of Kids by MGMT are:

F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#, F#m, D, A, E/G#