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Related Music Theory Alchemy

The given chord progression for the ending of Radiohead’s “You And Whose Army?” is in the key of A major. There are four chords in the progression: A, C#m, B-5, and B-5. Overall, it follows a relatively simple harmonic structure that incorporates power chords and a chromatic neighbor tone in the bass.

The chord progression in the chorus of “Nude” by Radiohead features a mix of diatonic and borrowed chords, with some added tensions for additional color. It reflects the band’s signature style of blending unexpected harmonic elements to create a unique and evocative sound. In particular, the mix of major and minor chords with added tensions lends a sense of both familiarity and unconventionality to the progression.

The chord progression in the famous outro of Queen’s ‘Bohemian Rhapsody’ illustrates the eccentricity Queen was known for throughout their discography. This section consists of bold modulations, chromatic chord progressions, and borrowed chords, showing off Freddie Mercury’s compositional sophistication and creativity. It’s evident that Mercury’s influence for this song came from various musical genres, including progressive rock, classical, and operatic music.

“The Less I Know The Better” by Tame Impala is in the key of E Major. The track has a unique blending of psych pop and synthrock, combining a funky bass line with Tame Impala’s signature synth timbre. Its harmonic structure is moderately complex and features some compelling chord progressions, with a few borrowed chords.

The outro of “Hey Joe” by Jimi Hendrix uses a descending circle of fifths chord progression, which is a very common progression in many styles of music, particularly in the Baroque period and in blues-based rock music. The progression features a steady descent through the Circle of Fifths that creates a strong sense of harmony and resolution. In this context, Jimi Hendrix uses the progression to create tension and momentum, which is appropriate for an outro section.

Radiohead – You And Whose Army – Outro

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Chord Progression

C#m, E, F#, C#, C#m, E, F#, C#, C#m, E, F#, C#, C#m, E, F#, C#

Chord Progression Analysis

C#m – i
E – III (borrowed chord from C# major)
F# – V/v (secondary dominant of the borrowed III chord)
C# – I (borrowed chord from C# major)

“`
| C#m (i) | E (III) | F# (V/v) | C# (I) |
“`

Similar Chord Progressions

1. The Beatles – “While My Guitar Gently Weeps”
Chord Progression:

“`
| Am (i) | A (I) | E (V) | G (VII) |
“`

2. Muse – “Space Dementia”
Chord Progression:

“`
| Bm (i) | D (III) | Bm (i) | G (VI) |
“`

3. Coldplay – “Clocks”
Chord Progression:

“`
| Ebm (i) | Bb (V) | Gb (III) | Fm (v) | Ab (VII) | Ebm (i) | Bb (V) | Ab (VII) |
“`

Musical Analysis

The chord progression’s use of borrowed chords and secondary dominants creates complexity and interest, while maintaining a sense of tonality with the strong I/i resolution. The borrowed III creates a surprise shift in tonality, which is further emphasized by the secondary dominant V/v leading back to the I chord. This mixture of major and minor qualities gives the progression an ambiguous and dreamy feel that is often found in Radiohead’s music.

Overall Analysis

This chord progression from Radiohead’s “You And Whose Army” is in the key of C# minor, and the chords are predominantly composed of diatonic chords from the C# natural minor scale with some borrowed chords from the parallel major scale. The progression follows a looped pattern, creating a hypnotic and catchy quality which is characteristic of Radiohead’s music.

Style Analysis

This chord progression is characteristic of Radiohead’s atmospheric, innovative style. It is cleverly composed, with the mix of major and minor chords creating a mesmerizing and emotive feel, which suits the overall atmosphere of the song. Radiohead is known for their ability to experiment and push the boundaries of traditional harmonic progressions, and this chord progression is another example of that.

Chords in the Outro section of You And Whose Army by Radiohead are:

C#m, E, F#, C#, C#m, E, F#, C#, C#m, E, F#, C#, C#m, E, F#, C#