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Related Music Theory Alchemy

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.

Muse’s “Can’t Take My Eyes Off You” is a rock interpretation of the classic 1967 pop song “Can’t Take My Eyes Off You” by Frankie Valli, which has been covered by various artists in different styles. The chord progression of the chorus is characterized by a series of diatonic chords, predominant in Western pop music. This progression follows a typical 1950’s “doowop” pattern present in countless pop and rock songs, utilizing the familiar circle of fourths movement (Dm-G-C) and establishing a straightforward harmonic rhythm.

Chord Progression Analysis with Roman Numerals (borrowed chords in code block):

D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major (I) – A major (V/vi) – D minor (iv) – G major (VII) – C major (I) – A minor (vi) – D minor (iv) – G major (VII) – C major 7 (Imaj7) – C7 (I7) – C6 (I6) – C major (I) – Ab major (*bVI) – C major (I)

`* Ab major (bVI) is a borrowed chord from the parallel minor key (C minor).`

“Tiny Dancer” by Elton John, written in the key of C Major, is a classic example of elaborate pop song writing. The chord progression features common primary and secondary chords in the key of C Major, along with some borrowed chords to add color. This combination makes for a memorable and melodic song.

The most unique feature of the song is how it slowly changes to the key of C minor in the second half of the verse, making use of two borrowed chords. This is a powerful tool in songwriting, as it can dramatically affect the emotional tone of the song. Lastly, this song demonstrates Elton John’s use of Coloristic harmony, through chromatically altered chords.

The chord progression in the verse of “Knights of Cydonia” by Muse features a mix of diatonic and borrowed chords, primarily from the G# minor and E major keys. The progression features an interesting blend of major and minor chords, chromatic movement, and modulation, contributing to the epic and powerful sound of the track.

Taylor Swift’s “Black Dog” features a verse chord progression that is both simple and evocative, utilizing variations of the tonic chord to create a sense of movement and build tension before resolving into more straightforward chord changes. This kind of progression is characteristic of songs that aim to evoke a contemplative or narrative-driven mood, which is a frequent theme in Swift’s songwriting.

Muse – Hate This And Ill Love You – Verse

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Chord Progression

A, Gm, D/F#, A, Gm, D, A, Gm, D/F#, A, Gm, D/F#

Chord Progression Analysis

The progression starts with the tonic chord A major, establishing the key of the piece. It then moves to the borrowed chord, Gm, which creates contrast and adds tension to the harmonic structure. The D/F# chord acts as a secondary dominant (IV/V), leading back to the tonic A major. The repetition of these chords with a few variations throughout the verse generates an interesting mix of stability and tension, and the frequent use of the borrowed Gm chord results in a bitonal character.

Similar Chord Progressions

Musical Analysis

Muse’s unique chord progression is a perfect example of their diverse influences, which range from classical music to rock and electronica. The combination of diatonic and borrowed chords is a distinctive trait found in much of their music. The structure highlights the tension created by contrasting major and minor harmonies, which is a common theme in their music – often reflecting the dramatic and emotionally charged lyrics.

Overall Analysis

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’)`

Style Analysis

1. Radiohead – Karma Police

Am ('i'), G ('♭VII'), Em ('v'), Am ('i'),
F ('♭VI'), Em ('v'), G ('♭VII'),

2. The Beatles – Something

C ('I'), Cmaj7 ('IM7'), C7 ('I7'), F ('IV'),
D ('V'), G ('bVII'), Am ('vi'), Am7/G ('vi7/♭VII')

These songs use similar borrowing techniques from parallel keys, and their chord progressions feature a rich harmonic palette with continuous harmonic shifts that create an intriguing listening experience.

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

A, Gm, D/F#, A, Gm, D, A, Gm, D/F#, A, Gm, D/F#