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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 of “Megalomania” by Muse is characterized by distinctive harmonic progressions, dynamic contrasts, and notable melodic lines that are typical of the band’s alternative rock style. Throughout this verse, Muse uses common harmonic devices such as secondary dominants, diatonic and chromatic mediants, borrowed chords from parallel keys, and deceptive cadences to create a sense of tension and forward momentum.

“Bennie And The Jets” by Elton John, released in 1973, features a distinctive chord progression that exemplifies Elton’s advanced harmonic sensibility and taste for grand piano-based balladry. The song is mainly in the key of G Major.

The song “Every Day is Exactly the Same” by Nine Inch Nails is in E minor key. The chord progression found in the chorus consists mainly of common chords found in the E minor key, along with a couple of borrowed chords from E major. The use of borrowed chords adds unique color and tension to the music.

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.

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