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The chord progression from verse 3 of Pink Floyd’s “Wish You Were Here” is in the key of C major and shows a mix of diatonic chords and borrowed chords. The progression creates a sense of smooth journey and has a certain melancholic yet uplifting character.

“Hey You” by Pink Floyd is a prog-rock song featured on their iconic album, “The Wall.” Its chord progression showcases a unique blend of chords that creates a sense of yearning and emotional intensity. The use of borrowed chords from parallel keys enhances the song’s emotive quality, and the overall structure shows a level of harmonic sophistication typical of Pink Floyd’s work.

The chord progression in the verse of “Apocalypse Please” by Muse is mostly based on the F#m and C# chords, with a strong emphasis on the i and V7 relationship. The progression moves back and forth between these two chords without straying far from the Tonality of F# minor while maintaining a tension and release structure.

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The overall use of chords highlights Queen’s blending of rock with more complex harmonic structures, moving beyond simple major & minor chords and incorporating 7th and inversions. Despite its pop/rock surface, “Somebody to Love” includes interesting modulation and chord choices that could be seen as more typical of more ‘classical’ forms of music.

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“Hey Joe” by Jimi Hendrix is a classic rock song featuring a cyclic chord progression in the key of E major. The song is well-known for its distinctive and temporarily ambiguous harmonic structure, bluesy vocal melodies, and Jimi Hendrix’s influential guitar playing. The verse chord progression constantly circles back on itself, creating a hypnotic effect.

Pink Floyd – Wish You Were Here – Verse 1

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Chord Progression

C, D/F#, Am/E, G, D/F#, C, Am, G

Chord Progression Analysis

C Major (I) – D Major/F# (V/V) – A Minor/E (vi) – G Major (V) – D Major/F# (V/V) – C Major (I) – A Minor (vi) – G Major (V)

The D Major chord in this context functions as a borrowed chord from the parallel Lydian mode:
`D Major (♭II)`

Similar Chord Progressions

1. “Hotel California” by Eagles:
B Minor (i) – F# Major/A# (V) – A Major (VII) – E Major/G# (IV) – G Major (VI) – D Major (III) – E Major (IV) – F# Major (V)
Here, the chords A Major and G Major function as borrowed chords from the parallel Dorian and Mixolydian modes, respectively.

2. “Stairway to Heaven” by Led Zeppelin (Verse):
A Minor (i) – C Major/G (♭III) – G Major (♭VII) – D Major/F# (IV) – A Minor (i) – C Major/G (♭III) – D Major (IV) – F Major (♭VI)
The F Major chord functions as a borrowed chord from the parallel Aeolian mode.

These similar chord progressions contain borrowed chords and/or inversions that create a sense of longing and depth, showcasing the versatility and emotional expressiveness of these techniques in rock music.

Musical Analysis

The verse begins with the tonic chord, C Major, establishing a sense of stability. The progression then moves to a borrowed D Major chord in first inversion, creating tension leading to the relative minor, A Minor. This chord progression (I – V/V – vi) heightens the emotional impact and sets up a smooth transition to the dominant, G Major. The cycle is repeated, transitioning back to the tonic chord (C Major) before ending on the dominant (G Major), leaving a sense of openness and anticipation of the next verse or chorus.

Overall Analysis

“Wish You Were Here” by Pink Floyd is an iconic rock ballad from their 1975 album of the same name. The song’s verse chord progression evokes a sense of nostalgia and longing, featuring a combination of major and minor chords, as well as borrowed chords and inversions that create a unique and emotional soundscape.

Style Analysis

“Wish You Were Here” is known for its acoustic guitar-driven sound, meaningful lyrics, and melodic guitar solos. The combination of introspective lyrics and the verse’s chord progression contributes to the overall melancholic atmosphere, making it a timeless representation of 70’s progressive rock.

Chords in the Verse 1 section of Wish You Were Here by Pink Floyd are:

C, D/F#, Am/E, G, D/F#, C, Am, G