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Related Music Theory Alchemy

The chord progression in the chorus of Muse’s “Apocalypse Please” consists of a mix of diatonic chords and borrowed chords from the parallel major and minor keys. The progression features strong harmonic movement with a pivot modulation. Muse is known for their dramatic, often symphonic rock sound, and this progression is no exception in showing off their signature style. The progression also shares some similarities with other artists’ works in both structure and harmonic content.

The chord progression of the given segment from Muse’s “Apocalypse Please” reflects the band’s signature blend of rock, electronic, and classical music. The progression is in the key of F# minor and features some chromaticism and modal mixture, which is quite common in their style of music. The harmonic rhythm is mostly consistent, and the chords utilized provide a strong sense of direction and resolution throughout the verse.

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“Girl” is a song by The Beatles from their 1965 album “Rubber Soul”. The song is written in the key of E minor and it showcases the band’s ability to incorporate non-diatsubject resorting to non-diatonic progressions and utilizes various seventh chords to establish a more sophisticated and jazzy soundid progression. It’s important to note their use of the Dorian mode, which adds to the melodic and harmonic sophistication of the song. Moreover, the song exhibits the lyrical and songwriting depth of The Beatles.

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“House of the Rising Sun” by The Animals features a repeating chord progression in a minor key that gives the song a haunting, melancholic feel. This progression moves through the circle of fifths, features borrowed chords from its relative major key and has a strong resolution from the dominant to the tonic.

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“Zombie” by The Cranberries features a relatively commonly used chord progression in pop/rock music, often referred to as a ‘vi-IV-I-V’ progression. This chord progression, in this particular case, is in the key of G Major and is made up of four chords: Em, C, G, and D/F#.

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Muse – Apocalypse Please – Verse 1

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Chord Progression

F#m/C#, C#, F#m/C#, C#, F#m, C#, F#m, C#

Chord Progression Analysis

F#m/C# (i6), C# (V), F#m/C# (i6), C# (V), F#m (i), C# (V), F#m (i), C# (V)

Similar Chord Progressions

1. Radiohead – “Exit Music (For a Film)”
Am (i), E (V), Am (i), E (V), Am (i), E (V), Am (i), E (V)

Although the chords are different, Radiohead’s “Exit Music (For a Film)” also heavily utilizes the alternating i and V relationship in their chord progression.

2. Metallica – “Welcome Home (Sanitarium)”
Em (i), B (V), Em (i), B (V), Em (i), B (V), Em (i), B (V)

Similar to the other examples, Metallica’s “Welcome Home (Sanitarium)” consists of alternating between the tonic and dominant chords, creating tension and release throughout the progression.

Musical Analysis

The verse begins with F#m/C# as the first inversion of F#m, creating a smooth transition between F#m and C# while maintaining the bass note C#. This creates a sense of consistency and grounding throughout the progression. It alternates between F#m/C# and C# for the first four chords and then shifts to a simpler alternation between F#m and C# for the remaining four chords.

Overall Analysis

The chord progression in the verse of “Apocalypse Please” by Muse is mostly based on the F#m and C# chords, with a strong emphasis on the i and V7 relationship. The progression moves back and forth between these two chords without straying far from the Tonality of F# minor while maintaining a tension and release structure.

Style Analysis

This chord progression fits the general style and sound of Muse, which often features strong, driving grooves, and dramatic tension/resolution. They are known for incorporating classical elements in their music, and the use of the i and V relationship in this chord progression demonstrates their affinity for classical harmonic structures. Additionally, the sense of urgency in the progression aligns with the apocalyptic theme of the song.

Chords in the Verse 1 section of Apocalypse Please by Muse are:

F#m/C#, C#, F#m/C#, C#, F#m, C#, F#m, C#