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Related Music Theory Alchemy

The outro of Muse’s “Apocalypse Please” features a mix of power chords and triadic chords, with predominant iim7 and IV triads along with some embellishing chords. The piece has a rock-based style, with the emphasis on power chords, a driving rhythm, and intense dynamics. The chord progression borrows elements from different genres, such as pop and classical, with some interesting chromatic movement.

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.

The chord progression in the verse 2 of Megalomania by Muse is predominantly in the key of E minor, with several chromatic and borrowed chords that give the progression a unique character. This progression consists of 16 chords and features an interesting mix of diatonic chords, secondary dominants, and borrowed chords that contribute to the dramatic and dark atmosphere of the piece.

“Brown Sugar” by The Rolling Stones, off their 1971 album Sticky Fingers, is in the key of C major, and primarily uses the chords C, F, G and Bb. This song showcases the band’s blues rock influences, built on a repetitive, riff-driven chord progression. The use of I, IV, V, and a borrowed bVII (Bb), which is common in the blues, creates an appealing and familiar sound, helping the song resonate with listeners.

The song “Yellow” by Coldplay uses a fairly standard pop/rock chord progression in the key of G major. It comprises three chords for the main progression: G Major (I), D Major (V), and Cmaj7 (IV7).

Muse – Apocalypse Please – Verse 2

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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 (vi6/4), C# (V), F#m/C# (vi6/5), C# (V), F#m (vi), C# (V), F#m (vi), C# (V)

Similar Chord Progressions

1. Radiohead – “Paranoid Android”:
Em7/G (v6/4), G (I), Em7/G# (v6/5), G (I), Em (v), G (I), Em (v), G (I)

2. Queen – “Bohemian Rhapsody” (verse section):
Bb6/D (IV6/4), Eb (V), Bb6/Db (IV6/5), Eb (V), Bb (IV), Eb (V), Bb (IV), Eb (V)

These examples feature chord progressions with similar harmonic structures and use of inversions. Both Radiohead and Queen have a similar tendency to incorporate classical and progressive elements into their music like Muse.

Musical Analysis

The chord progression is based in the key of A major, with F#m being the relative minor. It starts with a first inversion of F#m chord (F#m/C), which serves as a vi6/4 in A major. This is followed by a C# major chord, functioning as the dominant (V) in the key of F# minor.

The progression then moves to a second inversion of F#m (F#m/C#), also known as the vi6/5, which is a less common inversion and adds harmonic interest. This is followed by another C# major chord (V).

The rest of the progression follows a simple alternating pattern between F#m (vi) and C# (V), reinforcing the harmonic relationship between the relative minor and the dominant chords.

Overall Analysis

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

Style Analysis

Muse is known for their unique blend of progressive rock, classical influences, and electronic elements. This chord progression is a prime example of their style. The use of inverted slash chords and the chromatic movement provide a sense of unpredictability and intensity, which is a signature trait in their music. The combination of diatonic and chromatic chords creates strong tension and resolution throughout the progression.

Chords in the Verse 2 section of Apocalypse Please by Muse are:

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