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“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.

“The Continuing Story of Bungalow Bill” features a verse in A minor with a brief but significant shift to F minor, due to the use of borrowed chords or modal mixture. Notably, it showcases The Beatles’ sophisticated approach to harmonization, utilizing unconventional chord progressions & modulations that are cyclical.

“All You Need Is Love” is in the key of G major. The song primarily uses the chords within the key signature and has a relatively simple harmonic structure. However, the song does utilize a few distinct chord choices that contribute to its unique sonic character. The song applies modal interchange with an inclusion of A minor from the G Mixolydian mode and the D7 and D6 which evoke a hint of the D Mixolydian mode.

The chord progression for the verse of “Kids” by MGMT is a simple and diatonic progression in the key of A major, following the vi-IV-I-V pattern. It is common in pop music and creates a sense of tension and release throughout the progression. The chords are played using predominantly major and minor triads, with an inversion in the V chord (E/G#).

Nine Inch Nails – Hurt – Verse

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Chord Progression

Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, A

Chord Progression Analysis

Verse Chord Progression: Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), A (VII)

Chorus Chord Progression: Bm (i), G (VI), D (III), A (VII), Bm (i), G (VI), D (III), A (VII), Bm (i), G (VI), D (III), A (VII), Bm (i), G (VI), A (VII), B (I)

Outro Chord Progression: D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV), Bm (i), D (III), E (IV)

Note: There are no borrowed chords in this song.

Similar Chord Progressions

1. Radiohead – “Creep”
Chord Progression: G (IV), B (VI), C (VII), Cm (vii°)

2. The Beatles – “While My Guitar Gently Weeps”
Chord Progression: Am (i), G (VII), C#o7 (ii°7), Am (i), C (III), E (V), Am (i)

3. Coldplay – “The Scientist”
Chord Progression: Dm (vi), Bb (IV), F (I), C (V)

These songs show some similarities in their use of repetitive chord progressions and combining both major and minor chords, which create a sense of melancholy or introspection.

Musical Analysis

The verse of “Hurt” uses a steady progression of i-III-IV, giving the piece a sense of melancholy by accentuating the B Minor tonality. The frequent repetition helps create a hypnotic, somber mood. The final A chord in the verse section acts as a setup for the transition into the chorus.

In the chorus, the progression shifts to i-VI-III-VII, adding a sense of hope with the major G and A chords (VI and VII). However, the pivot back to the Bm chord prompts a return to the initial tone of melancholy.

The outro shares the same chord progression as the verse, but it is shorter and serves to slowly wind down the intensity of the song, providing closure.

Overall Analysis

The song “Hurt” by Nine Inch Nails is in the key of B minor. The verse has a simple yet effective chord progression that revolves mainly around the i, III, and IV chords with a slight deviation towards the end. The chorus is characterized by a i-VII-III-VI progression with a slight extension. The outro mostly repeats the verse progression but is shorter.

Style Analysis

“Hurt” is an alternative rock song that falls within the genres of dark ambient and industrial rock music. It has a sparse arrangement, with minimalist piano, guitar, and drum machine elements. The melancholic and introspective lyrics are accentuated by the somber and repetitive chord progressions.

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

Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, Bm, D, E, A