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Related Music Theory Alchemy

“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.

The chord progression in the chorus of Muse’s “Megalomania” features a blend of major and minor chords, as well as the use of the dominant 7th chord (B7) to create tension and resolution. This progression provides a harmonic foundation for the powerful and emotional vocals, giving it an intense and memorable feel.

The chord progression in question is from the verse 2 of Weezer’s “The Good Life.” It is a pop-rock song in the key of G major, and the progression features common chords found in the key, with one borrowed chord – B7 – to add a touch of tension and harmonic interest.

Chord Progression Analysis (with Roman Numerals):
G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – E Major (VI) – G Major (I) – D Major (V) – A minor (ii) – B7 (`V7/iii`)

The borrowed chord in question is the B7, which is borrowed from the relative minor key (E minor) and functions as a secondary dominant to the iii chord (B minor).

“Eight Days A Week” by The Beatles, released in 1965, is renowned for its catchy melodic phrases, tight harmonies, and distinctive use of chords. The song is firmly rooted in the key of D major, but there is an interesting use of borrowed chords.

Verse 2

The chord progression in the verse 2 of Beck’s “Morning” is an example of a common progression in popular music, involving the I, IV, iii, and ii chords. The harmony is mostly diatonic, staying within the key of E major. The progression features regular 4-chord phrases and a smooth, consonant flow between chords.

Muse – Hysteria – Verse 2

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Chord Progression

E7, Dm, Am, E7, Dm, Am

Chord Progression Analysis

E7 (V7/vi), Dm (iv), Am (i), E7 (V7/vi), Dm (iv), Am (i)

* E7 is a borrowed chord from the E harmonic minor scale.

Similar Chord Progressions

1. Radiohead – Paranoid Android
Chord Progression: G#(b5) (V7/vi), Fm (iv), Cm (i), G#(b5) (V7/vi), Fm (iv), Cm (i)

2. Led Zeppelin – Stairway to Heaven (Verse)
Chord Progression: Em (i), D/F# (VII6), Gmaj7 (IVmaj7), D7 (VII7), C (bVI), G/B (IV6), Am (v), Am/C (v6)

Note that these chord progressions are not exact matches to Hysteria, but they share certain elements of harmonic interest and movement through the use of borrowed chords or secondary dominants.

Musical Analysis

This progression features a non-diatonic chord (E7) borrowed from the E harmonic minor scale that adds tension and unpredictability to the overall tonality of the song. The oscillation between the minor plagal cadence (Dm – Am) and interrupted cadence (Am – E7) creates a sense of instability and constantly fluctuating tonality, which complements the song’s intense and frantic atmosphere.

Overall Analysis

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.

Style Analysis

Muse is known for blending rock, alternative, and electronic music with classical and orchestral elements, creating a distinctive and dramatic sound. The use of a secondary dominant and borrowed chords contribute to the emotional intensity and captivating nature of the song. This particular chord progression captures a dark and brooding nature often evident in Muse’s music.

Chords in the Verse 2 section of Hysteria by Muse are:

E7, Dm, Am, E7, Dm, Am