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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 from Muse’s “Hate This And I’ll Love You” displays a mix of diatonic and borrowed chords from the parallel minor. The progression is in the key of A major and shows an unconventional use of chords that gives the song its unique sound. It also showcases certain characteristics of Muse’s music style that includes complex chord progressions and frequent changes between major and minor harmonies.

Chord Progression Analysis and Roman Numerals:

A ('I'), Gm ('bVII'), D/F# ('IV/V'), A ('I'),
Gm ('bVII'), D ('IV'), A ('I'), Gm ('bVII'),
D/F# ('IV/V'), A ('I'), Gm ('bVII'), D/F# ('IV/V')

The borrowed chord in this progression is Gm, taken from the parallel minor, A minor:
`Gm (‘bVII’)`

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Looking at the entire song and isolating the verse, the chord progression provided shows a rock style often seen in Queens of the Stone Age compositions. The harmonic language of this song and its progression style fall within the realm of Pop / Rock music, with frequent use of minor chords suggesting a somber or introspective mood. On first glance, it appears to contain chords primarily from the key of F# minor, with no obvious borrowings from other keys. However, a closer inspection will allow us to delve deeper into their harmonic function.

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“Fake Plastic Trees” by Radiohead is a haunting and introspective ballad that features an evocative chord progression. The progression appears to have been influenced by alternative rock and combines elements of both major and minor tonalities, as well as non-diatonic and diatonic chords. This blend of harmonic flavors creates an unforgettable sound that is melancholic, yet beautiful.

“Paper Tiger” by Beck is a unique and stylistic piece, displaying a blend of various genres and influences. The verse 2 chord progression is quite simple, but the harmonic choices create tension and provide a sense of movement throughout the progression. Combining the elements of rock, folk, and alternative music, this chord progression is both intriguing and musically satisfying.

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