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Related Music Theory Alchemy

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“Little Sister” by Queens of the Stone Age is based in the rock genre, featuring a simple melody with strong rhythmic components, built on a mix of power, suspended and major chords. The use of the C#5 and G#5/D# chords in the verses and the F#sus4-E-G#sus4 repetition in the chorus indicate an overall key signature of F# minor.

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The “Like Clockwork” track by Queens of the Stone Age showcases a wide range of harmonic complexity. The track is in the key of F# minor and it is characterized by non-traditional chord progressions. From the range of chords used within the song, it’s clear that the song deviates from strict diatonic harmony, and freely borrows chords from parallel keys (modal mixture).

“Something I Can Never Have” by Nine Inch Nails features a haunting and melancholic chord progression typical of the alternative rock and industrial rock genres. The tonality of the piece centers around the key of C major, with occasional borrowed chords and chromaticism adding emotional color and tension. The verse and chorus sections both feature a similar pattern of repeating chords as well as a descending bass line connecting the chords, giving the piece cohesion.

“God Only Knows” by The Beach Boys showcases the artistic depth and compositional craft of Brian Wilson, the band’s primary songwriter. The song utilizes a complex chord progression and key changes that are unconventional for pop music of its time. The chord progression creates a sense of constant mood transitions, similar to arias in Romantic era music.

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“You Can’t Always Get What You Want” by The Rolling Stones is built around major tonality and uses direct and simple progressions. It also features what are known as additive chords (Gadd9) – chords to which notes are added beyond the common triad. The song commences in the key of G Major, indicated by the G, Gadd9, and C chords. These chords progress in an almost continual cyclical pattern across the verses. Here, the dominant chord (D) in the key of G Major is absent, which grants a tonal ambiguity to the song. Interestingly, the song takes a departure into a different key later on which will not be included in this analysis as it pertains to the Verse only.

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Queens of the Stone Age – Little Sister – Verse

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Chord Progression

[‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’]

Chord Progression Analysis

Here is the breakdown of chords with their Roman numerals:

“`
C#5 (I)
G#5/D# (V/v)
E5 (III)
G#5 (V)
“`
`G#5/D#` is a borrowed chord, working as a secondary dominant to the `E5`. It ultimately creates this lovely tension before resolving to the `E5` or `III`.

Similar Chord Progressions

The I – V/v – III – V progression isn’t quite standard, but power-chord-heavy songs that lean on the I – III – V progression are common in the rock genre. One similar song in structure and progression is “Back in Black” by AC/DC. Here’s how the chords break down:

“`
E5 (I)
G5 (III)
A5 (IV)
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Another song that comes close—especially to the I – V/v – III part—is “Last Nite” by The Strokes:

“`
F (I)
C/E (V/v)
Dm (vi)
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Just remember, it’s the way these chords are used within the context of each song that truly makes the similarity standout. Still, analyzing these elements can develop our understanding of the language of music.

Musical Analysis

The four-chord progression features repetitive thematic transformation typical of many rock music without relying on traditional functional progression. The constant transition between chords introduces a certain level of tension and release that makes this piece so compelling. The verse starts on the tonic, moves to secondary dominant, resolves to III and then to the dominant V.

Overall Analysis

“Little Sister” by Queens of the Stone Age is in C# minor and features an interesting blend of simple cycle of power chords, articulating a I – V/v – III – V progression during verses. The track is heavy but also melodic, built from a four-chord pattern that creates a mesmerizing tonality within the rock genre.

Style Analysis

“Little Sister” leans on the raw power of distorted power chords (5 chords) and is driven by a consistent, pulsating rhythm section. The steady progression fits well within the post-grunge, stoner rock genre. It’s a minimal style filled with hard, heavy sounds, but the band also injects a good amount of melody, making it palatable for a broader audience.

Chords in the Verse section of Little Sister by Queens of the Stone Age are:

[‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘C#5’, ‘G#5/D#’, ‘E5’, ‘G#5’, ‘F#5’, ‘E5’]