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Related Music Theory Alchemy

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’)`

The verse 2 chord progression in “Can’t Take My Eyes Off You” by Muse follows a typical jazz/pop style with the use of extended and altered chords such as Major 7th and minor 7th ♭5 chords. It also features a variation in line with the different sections of the piece.

The chorus of Taylor Swift’s “Guilty as Sin?” showcases a rich and dynamic chord progression that reflects the song’s emotional intensity and narrative depth. This progression, with its interplay of major, major seventh, and minor chords, provides a musical canvas that enhances the emotional weight of the lyrics, indicative of Swift’s sophisticated songwriting approach.

The chorus of “The Good Life” by Weezer features a mixture of diatonic and non-diatonic chords, with a primary focus on the key of G major. The chord progression stands out as somewhat unconventional due to the inclusion of chromatic chords, which gives it an interesting character and emotion. Additionally, the repetition of certain chords emphasizes the harmonic structure and creates a sense of familiarity.

“Save Me” by Queen is a rock ballad that uses a complex mix of traditional popular song structures and common rock chord progressions. The song structure is largely verse-chorus, but then there’s a bridge serving as the solo section, and finally ends with repeating choruses. The chord progression for the chorus utilizes a variety of chord inversions, diatonic chords, and non-diatonic or borrowed chords, which are typical of Queen’s music style.

Muse – Hate This And Ill Love You – Chorus

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Chord Progression

Em, Bm, F#sus4, F#, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, G#m7, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D, Em, Bm, F#sus4, F#m, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D

Chord Progression Analysis

E minor (i), B minor (v), F#sus4 (IVsus4 of Bm), F# major (V of Bm), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), Bm7/G# (*V7/iii♭), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G#m7 (ivm7 of E), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G minor (*bIII), D/F# (II6 in Em and V6 in G), A major (*IV) [or V in Dm], G minor (*bIII), D major (*Ton), E minor (i), B minor (v), F#sus4 (IVsus4 of Bm), F# minor (*iv in Em or iv in Bm), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), Bm7/G# (*V7/iii♭), Bm7/G (*V7/v), E minor (i), G major (III), E minor (i), F# major (II), B minor (v), Bm7/A (*V7/V/v), G minor (*bIII), D/F# (II6 in Em and V6 in G), A major (*IV) [or V in Dm], G minor (*bIII), D major (*Ton).

`*` denotes borrowed chords or chords with tension notes.

Similar Chord Progressions

1. Radiohead – Paranoid Android:
[Am (i), D7 (*IV), G (♭VII), C (III), Bm7 (*iv), E (V_II), Am (i), D7 (*IV), G7 (♭VII_dim)]

2. The Beatles – Something:
[C (I), Cmaj7, C7 (*V), F (IV), D (*VII), G (*III), G7 (*III_dim), A (*VI), C#7 (*V_III), F#m (III), F#m7, B7 (V)]

Note that these similar progressions feature a mix of diatonic and non-diatonic chords. They also use secondary dominants and borrowed chords, indicative of the rock music genre’s experimental harmony.

Musical Analysis

The chorus consists of a mix of diatonic, modal interchange, and secondary dominant chords. Some chords create tension, which then resolves to the subsequent chords. For example, F#sus4 to F# major represents a suspended chord resolved by the major chord.

Muse also uses descending chromatic bass motion in Bm7/A, Bm7/G#, and Bm7/G. This technique adds tension and movement throughout the chorus, a common element in rock music.

Overall Analysis

The chorus of “Hate This And I’ll Love You” by Muse features a highly chromatic and non-diatonic chord progression, with a myriad of borrowed chords and some distinctive rock sound. The key within which the progression is based seems to shift between E minor and B minor, with a mixture of Major and minor chords throughout.

Style Analysis

Muse often employs a mix of classical harmonic techniques and rock-inspired rhythmic elements. This progression includes chromaticism, some modal interchange, and various tensions that create a sense of variety and unpredictability, an approach characteristic of their music.

Chords in the Chorus section of Hate This And Ill Love You by Muse are:

Em, Bm, F#sus4, F#, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, G#m7, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D, Em, Bm, F#sus4, F#m, Em, F#, Bm, Bm7/A, Bm7/G#, Bm7/G, Em, G, Em, F#, Bm, Bm7/A, Gm, D/F#, A, Gm, D