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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’)`

“Hysteria” by Muse is a song with a heavy rock style, featuring a powerful bassline and distorted guitars. The chord progression mentioned is present in the first verse of the song. This progression is characterized by the use of standard tonal harmony and minor key tonality, with some slight variations that are typical in rock music.

“Hurt” by Nine Inch Nails features a melancholic and introspective chord progression. The song is predominantly in the key of B minor. The verse and outro sections revolve around the Bm, D, and E chords, while the chorus uses a progression of Bm, G, D, A. The use of borrowed chords enriches the harmonic landscape, adding depth to the composition.

**
“Honky Tonk Women” by the Rolling Stones is a classic rock track steeped in the blues tradition. The song is played in the key of G Major and primarily uses chords G, C, A, and D.

**Chorus

The chord progression for Radiohead’s “All I Need” chorus features a simple and repetitive structure, with a strong emphasis on the tonic (C major) and its relative minor (E minor). The progression then ends with a brief move to the dominant (G major), before returning to the tonic. This accessible sequence reflects the song’s emotional vulnerability and simplicity, while also showcasing the band’s ability to create emotional depth in their music.

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