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Related Music Theory Alchemy

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 the refrain of MGMT’s “Weekend Wars” is an intriguing combination of diatonic and borrowed chords. It primarily features chords from the key of A minor and C major, with some noticeable out-of-key chords that add color and tension to the progression.

The chorus of “Perfect Situation” by Weezer features a fairly straightforward chord progression using diatonic chords from the G major scale. The progression is composed primarily of the tonic (I), dominant (V), and submediant (vi) chords, with a focus on their harmonic interplay. This creates a catchy and memorable chorus, which is characteristic of Weezer’s style and is often found in pop and rock music.

The chord progression in the chorus of “Ramona” by Beck is an interesting mix of diatonic and borrowed chords that creates a unique and somewhat unexpected harmonic landscape. It combines major and minor chords, borrowed chords from the parallel minor key, and chromatic chords, making a rich harmonic texture.

The chorus of Taylor Swift’s song “ME!” employs a bright and catchy chord progression that’s emblematic of pop music’s joyful and exuberant character. This progression underpins the song’s themes of self-affirmation and positivity, making it an infectious and memorable part of the track.

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#