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Related Music Theory Alchemy

The chord progression in Muse’s Hysteria (verse 2) is a fairly unique progression that revolves around a minor tonality with some hints of E7 acting as a secondary dominant. It seems to have an ambiguous key center, fluctuating between E minor and A minor. The progression is repeated, providing a sense of tension and familiarity throughout the verse.

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

David Bowie’s song, “Space Oddity,” is typically interpreted as being in the key of C Major. It’s an interesting song harmonically, featuring not just Primary Triads and Secondary Dominants but also uses Borrowed Chords, non-functional harmony, and chromatic chord changes. The kind of harmonic movement might be called Bowie’s deviation from the traditional harmonic patterns, which is part of what gives his music its characteristic ‘alien’ vibe. This progression has a more modal feeling due to the use of borrowed chords and the shifted tonal center.

The chord progression of “Say Goodbye” by Beck uses a combination of diatonic and borrowed chords within the key of G major. The verse features a total of 8 chords: G major, A# major, A minor, and C major. The use of a borrowed chord (A# major) adds an interesting twist to the progression and provides a unique color to the harmony.

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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Muse – Hysteria – Verse 1

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Chord Progression

Am, E7, Dm, Am, E7, Dm, Am

Chord Progression Analysis

* A minor (i)
* E7 (V7)
* D minor (iv)
* A minor (i)
* E7 (V7)
* D minor (iv)
* A minor (i)

Similar Chord Progressions

1. Radiohead – “Karma Police”:
* A minor (i)
* A minor/Maj7 (i/Maj7)
* G (VII)
* D/F# (IV/6)
* E minor (v)
* E (V)
* A minor (i)

2. The Beatles – “While My Guitar Gently Weeps”:
* A minor (i)
* A minor/G (i/7)
* A minor/F# (i/6)
* A minor/F (i/6b)
* D (IV)
* G (VII)
* C (III)
* E (V)

In both of these similar progressions, the use of A minor as the tonic is consistent, and the chords utilized often borrow from other keys or use unexpected variations, resulting in unique harmonic progressions that generate tension and interest.

Musical Analysis

This chord progression uses the A minor as its tonic (home chord), which sets the dark and moody atmosphere of the song. The E7 is a secondary dominant (V7 of the IV, or D minor), used to increase tension and drive the progression forward. The D minor chord serves as a borrowed chord from the parallel key (A major) and provides a unique and unexpected twist, adding more depth to the harmonies.

Overall Analysis

“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.

Style Analysis

This progression has a typical rock feel, mostly because of the instrumentation, arrangement, and slightly unusual chords like the D minor borrowed chord. The repetitive pattern creates a sense of familiarity for the listener while still weaving in distinctive characteristics to maintain interest.

Chords in the Verse 1 section of Hysteria by Muse are:

Am, E7, Dm, Am, E7, Dm, Am