Queens of the Stone Age – 3S And 7S – Verse 2
3S And 7S < All Analyses
Chord Progression
[‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’]
Chord Progression Analysis
– A#m (i)
– G# (VII)
– F (VI)
then it repeats. This is a very popular chord progression used in many rock, pop, and alternative songs.
“`{A#m: ‘i’, G#: ‘VII’, F: ‘VI’}“`
Similar Chord Progressions
The same chord progression can be found in various rock and pop music, one of them is ‘Love the Way You Lie’ by Eminem feat. Rihanna, the progression goes:
1) Bb minor (i)
2) Ab major (VII)
3) Gb major (VI)
Another example is ‘Attention’ by Charlie Puth with the progression:
1) Eb minor (i)
2) D flat major (VII)
3) B major (VI)
Musical Analysis
The progression backbone is a question-and-answer sequence that has a tension-building and resolving structure: the i chord, being the tonic of the scale, establishes the key’s mood, the VII chord adds tension to the music as it’s comprised of two notes that are discordant in the A# minor key, and the VI chord brings a sense of resolution to the tension.
Overall Analysis
The piece “3’s and 7’s” by Queens of The Stone Age illustrates a fascinating blend of minor and major tonality, accented dissonances, and unexpected harmonic turns, which is characteristic of the band’s stoner rock and alternative metal style. The verse 2 chord progression is in A# minor and it sticks to a fairly repetitive three-chord progression of A#m – G# – F.
Style Analysis
This chord progression is characteristic of Queens of the Stone Age’s style which often utilizes tense harmonic structures to create a darker, moodier sound. The blending of minor and major tonality along with the use of borrowed chords creates variety and contributes to their unique sound.
What are the chords in: Queens of the Stone Age – 3S And 7S – Verse 2?
[‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’, ‘A#m’, ‘G#’, ‘F’]
