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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 for the verse of “Electric Feel” by MGMT is based in the key of C major. The progression mainly revolves around the use of i, v, VI, and VII chords. The song has a hypnotic, cyclic feel that is characteristic of the neo-psychedelic genre, with touches of funk and dance music elements.

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The song “Jolene” by Dolly Parton sports a simple yet effective chord progression. The entire song is in the key of C major / A minor (they share the same key signature), with a clear preference for the darker minor tones over the light major tones. This song is a great example of the use of simple chord structures and progressions to evoke emotive sensations.

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This is a beautiful chorus from “Rocket Man,” a song by Elton John. The overall vibe of the song is nostalgic and melancholy, largely due to the combination of key changes, chord progression, and Elton John’s vocal melody. The song appears to be in the key of G major.

“Eight Days A Week” by The Beatles is in the key of D major. The song features a handful of basic major and minor chords with a sprinkling of interesting harmonic developments such as the E7 transition chord and the use of the B minor chord which provide a rich palette of colors for the progression.

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#