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Related Music Theory Alchemy

“Hurt” is a song written and composed by Trent Reznor, best known for its version covered by Johnny Cash in C major. The song employs a commonly used pop/rock chord progression (vi- IV- I- V), that aids the conveyance of the theme of regret and redemption. The use of the minor vi chord (Am) as the starting point of the progression provides a very melancholy feel that aligns with the overall tone of regret in the lyrics. The progression then moves to a major IV (F), suggestive of a brief glimpse of hope or relief, before settling into the home key of C. The progression rounds off with a V chord (G), propelling the sequence back to the beginning again, giving a cyclic, repeating, and enduring feel to the music.

“Right Where It Belongs” by Nine Inch Nails is a song characterized by its melodic and harmonic structure. It has a unique yet familiar sound, blending pop and alternative rock elements with its rich chord progression and powerful melody.

The chord progression of Radiohead’s “Everything In Its Right Place” is unique and complex, which contributes to the dreamy, atmospheric, and rich harmonic content prevalent in the song. Its ambiguous key center and shifting tonal centers create a sense of fluidity and unpredictability, commonly observed in Radiohead’s style. The chorus features a blend of diatonic and borrowed chords from parallel keys, which creates a colorful, almost impressionist quality to the progression.

“Iris” by the Goo Goo Dolls is well-known for its unique tuning and chords which adds a certain tenderness and emotional depth to the song. The song is in D Major and utilizes a repeated chord progression that is relatively simple but effective.

“Tonight, Tonight” by The Smashing Pumpkins draws from the band’s unique style of alternative rock influenced by a distinct palette of harmonic choices. Particularly in the songwriting of Billy Corgan (the band’s primary songwriter), the band tends to use a mix of common and uncommon chords, together with a tendency of exploring different tonalities. Often, the chord changes are driven by guitar inversions, suspensions, or additions.

Nine Inch Nails – Hurt – Chorus

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Chord Progression

Bm, G, D, A, Bm, G, D, A, Bm, G, D, A, Bm, G, A, B

Chord Progression Analysis

B minor (i) – G major (VI) – D major (III) – A major (VII)

Similar Chord Progressions

1. “Creep” by Radiohead
Chord progression: G major (I) – B major (III) – C major (IV) – C minor (iv)

2. “Mad World” by Tears for Fears
Chord progression: F minor (i) – A♭ major (III) – B♭ major (IV) – D♭ major (VI)

Note that these songs utilize different keys and may not have the exact same progression as “Hurt,” but they follow a similar pattern and emotional feel due to the use of borrowed chords and related techniques. The shared aesthetic among these songs lies in their emotional depth and introspective lyricism.

Musical Analysis

The foundation of the chord progression is built around the tonic (Bm – i), submediant (G – VI), and mediant (D – III). The A major chord (VII) comes from the parallel major key (B major), which is considered a borrowed chord. This borrowed chord introduces an unexpected major quality into the progression, which adds to the emotional impact of the chorus.

Overall Analysis

“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.

Style Analysis

“Hurt” showcases the signature style of Nine Inch Nails, characterized by introspective lyricism, dark ambiance, and emotional vulnerability. The chord progression complements this aesthetic, evoking a sense of longing, melancholy, and regret. The song also incorporates experimental and electronic elements, along with a simple yet impactful melody.

Chords in the Chorus section of Hurt by Nine Inch Nails are:

Bm, G, D, A, Bm, G, D, A, Bm, G, D, A, Bm, G, A, B