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Related Music Theory Alchemy

“Feeling Good” by Muse is a cover of the original song written by English composers Leslie Bricusse and Anthony Newley in 1964. The Muse version was released in 2001 and is featured on their second studio album, “Origin of Symmetry.” The song is heavily influenced by the genres of jazz, soul, and R&B, while the Muse rendition adds a more modern rock sound to the mix.

The chord progression in Muse’s Hysteria (verse 2) is a fairly unique progression that revolves around a minor tonality with some hints of E7 acting as a secondary dominant. It seems to have an ambiguous key center, fluctuating between E minor and A minor. The progression is repeated, providing a sense of tension and familiarity throughout the verse.

“Glory Box” by Portishead from the album Dummy (1994) presents a haunting and somewhat melancholy ambience commonly found in their trademark trip-hop style. This song, in particular, draws from a palette of jazz-influenced harmony. The chords used, their extensions, and inversions, conjure complexity beyond basic triadic harmony. The chord progression listed appears to be in the key of D minor and employs common jazz techniques like ii-V-I progressions and usage of the half-diminished chord.

The chord progression in Verse 2 of Radiohead’s “Nude” showcases a unique blend of minor and major chords within the key of E major, highlighting the band’s signature non-traditional approach to harmony. It features borrowed chords, as well as chromatic and diatonic motion between some chords.

“Every Day Is Exactly The Same” by Nine Inch Nails is primarily composed in the key of E minor. The song consists of four sections: Verse 1, Chorus, Verse 2, and Bridge. The chord progressions in the song are relatively simple, with a distinct alternation between E and C chords in the verses, while the chorus and bridge sections feature a broader range of chords such as A, C, and G.

Chord Progression Analysis (Verse 2):
E minor (i), C major (VI), E minor (i), C major (VI), E minor (i), C major (VI), G major (III), F major (♭VII; borrowed chord from E Phrygian), E minor (i)

*G major (III) and F major (♭VII) are both non-diatonic chords in E minor, with the F major chord being borrowed from the E Phrygian mode.

Muse – Feeling Good – Verse 2

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Chord Progression

Gm, Gm/F, Eb, D, Gm, Gm/F, Eb, D, Gm, Gm/F, C/E, Cm/Eb

Chord Progression Analysis

“`
G minor (i)
G minor/F (i/F)
E-flat major (VI)
D major (V/V)
G minor (i)
G minor/F (i/F)
E-flat major (VI)
D major (V/V)
G minor (i)
G minor/F (i/F)
C major/E (borrowed IV/III)
C minor/E-flat (iv/III)
“`

Similar Chord Progressions

1. “Creep” by Radiohead:
“`
C Major (I)
E minor (iii)
G major (V)
F major (IV)
C Major (I)
F major (IV)
C major (I)
G major (V)
“`

2. “All I Want” by Kodaline:

“`
C Major (I)
G major (V)
A minor (vi)
F major (IV)
C Major (I)
G Major (V)
F major (IV)
F major (IV)
“`

These chord progressions share similarities with the progression in “Feeling Good” in that they employ a mix of borrowed chords, non-standard progressions, and major/minor relationships to create a rich and contrasting harmonic texture, which results in a more captivating listening experience.

Musical Analysis

The given chord progression is part of the verse in Feeling Good, which demonstrates a non-conventional progression with some borrowed chords. The progression starts with G minor (i), which establishes the tonality of the song. Then, it moves to G minor/F (i/F), which is the first inversion of G minor, giving the progression a sense of movement and tension.

The progression then moves to E-flat major (VI), which is a common chord substitution used in minor keys. This is followed by D major (V/V), which is a secondary dominant, enhancing the pull towards a G minor i before the subsequent repetition.

The use of C major/E (borrowed IV/III) and C minor/E-flat (iv/III) at the end of the progression is noteworthy. This presents parallel major/minor relationships, which creates a sense of contrast and surprise that gives the song a unique identity and enhances its emotional impact.

Overall Analysis

“Feeling Good” by Muse is a cover of the song originally written by Anthony Newley and Leslie Bricusse for the 1964 musical “The Roar of the Greasepaint – The Smell of the Crowd”. Muse’s version is characterized by its distinct blend of jazz, rock, and pop influences, with strong orchestration and stylistically unique elements that give the song a modern edge while still paying homage to its classic roots.

Style Analysis

Muse’s version of “Feeling Good” incorporates elements from jazz, blues, rock, and pop. The chord progression and strong orchestration, featuring brass and strings, create a rich harmonic texture, while the melancholic vocal melodies convey a sense of longing. The blend of classic songwriting with modern rock sensibilities results in a distinctive sound that sets Muse’s interpretation apart from the original version.

Chords in the Verse 2 section of Feeling Good by Muse are:

Gm, Gm/F, Eb, D, Gm, Gm/F, Eb, D, Gm, Gm/F, C/E, Cm/Eb