Music Theory Alchemy

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This chord progression is in the key of Am. The work can be seen as a mix of the Western tonal harmony, incorporating the use of inversions alongside nondiatonic chords. Tame Impala employs the elements of neo-psychedelia with unique chord progressions and arrangements. The alteration between two chords creates a revolving feeling, reinforcing the title “alter ego”.

“Yes I’m Changing” by Tame Impala uses a repetitive chord progression throughout the majority of the song, alternating primarily between the chords C, Csus2, Cadd9, Am, F, and G. This pattern is characterized by constant resolution with the tonic of the key, C Major. However, the progression occasionally diverges from the typical diatonic pattern by introducing a G Major chord, which is a V chord in the C Major scale.

The chord progression in Radiohead’s “You And Whose Army” showcases the band’s unique style of blending chord progressions from different key centers, as well as their tendency to use borrowed chords. The progression consists largely of diatonic chords from the key of C# minor, but also features a few borrowed chords from D# minor and the parallel major key, C# Major.

“Nothings Gonna Change My Love For You” is a romantic ballad featuring a smooth and melodic chord progression characteristic of the pop and jazz fusion genres. The Verse’s chord progression contains some elements of a standard jazz progression while also making use of several borrowed chords. The chords contribute to the warm and sentimental atmosphere that captures the essence of the song’s theme.

“Knives Out” by Radiohead features a chord progression that combines elements of rock and jazz with a touch of chromaticism. The harmony is based in the key of C minor, but it also borrows chords from the parallel major key, creating an interesting mix of major and minor tonalities. The overall feel of the piece is melancholic and introspective, with various chord relationships contributing to this mood.

Tame Impala – Alter Ego – Verse

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Chord Progression

[‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Dm’, ‘Gm’]

Chord Progression Analysis

“`
“Cmaj7 (‘I Maj7’)”, “Bsus4 (‘bVII sus4’)”, “Bm7 (‘bVII min7’)”, “Cmaj7 (‘I Maj7’)”,
“Bsus4 (‘bVII sus4’)”, “Bm7 (‘bVII min7’)”, “Cmaj7 (‘I Maj7’)”, “Bsus4 (‘bVII sus4’)”,
“Bm7 (‘bVII min7’)”, “Cmaj7 (‘I Maj7’)”, “Bsus4 (‘bVII sus4’)”, “Bm7 (‘bVII min7’)”,
“Cmaj7 (‘I Maj7’)”, “Bsus4 (‘bVII sus4’)”, “Bm7 (‘bVII min7’)”, “Cmaj7 (‘I Maj7’)”,
“Bsus4 (‘bVII sus4’)”, “Bm7 (‘bVII min7’)”, “Dm (‘ii min’)”, “Gm (‘v min’)”
“`
Note: The Bm7 and Dm chords are borrowed chords which further shows the chromaticism inherent in Tame Impala’s style.

Similar Chord Progressions

Radiohead’s “Paranoid Android” quite similarly ventures into the territory of borrowed chords and modal mixolydity.

* Paranoid Android Verse: [“Gmaj7 (‘I Maj7’)”, “Fmaj7 (‘bVII Maj7’)”, “Cmaj (‘IV Maj’)”, “Am (‘ii min’)”, “Gmaj7 (‘I Maj7’)”, “Fmaj7 (‘bVII Maj7’)”, “Cmaj (‘IV Maj’)”, “Am (‘ii min’)”, “Em (‘vi min’)”].

Note that the Gmaj7 and Fmaj7 chords share the same relationship as Cmaj7 and Bsus4 in “Alter Ego”, providing a similar sense of modal mixolydity.

Also, somewhat similarly, but with a more pop-oriented approach is Coldplay’s “Fix You” which uses plain major and suspended chords.

* Fix You Bridge: [“Eb (‘bVI Maj’)”, “Bb (‘III Maj’)”, “Ab (‘bVII Maj’)”, “Ebsus2 (‘bVI sus2’)”, “Fsus2 (‘II sus2’)”]

Here, the shifting between suspended and major chords gives a comparable sense of harmonic color similar to “Alter Ego”.

Musical Analysis

The structure of the progression offers a unique blend of stability (with the I chord, Cmaj7) and harmonic variety/modulation using chromatic mediants and borrowed chords. The move from Cmaj7 to Bsus4 gives a bit of a modal mixoly, exuding a dreamy and psychedelic feel that Tame Impala is known for. Meanwhile, the repeated oscillation between these chords creates a hypnotic, looping effect, characteristic of psychedelic rock.

Overall Analysis

This chord progression from the verse of Tame Impala’s “Alter Ego” suggests a key of C major due to the recurring instances of Cmaj7. However, the presence of certain chords like Bm7 and Dm suggests that Kevin Parker is creatively “borrowing” chords from the parallel and associated keys (C minor, D minor) to create colorful departures from the primary tonality. The use of extended chords (7ths) and suspended chords (Bsus4) adds a sense of complexity and sophistication to the harmony. As can be seen, the chord progression mostly oscillates between Cmaj7, Bsus4, Bm7 before moving to Dm and Gm towards the end of the verse.

Style Analysis

In terms of style, the chord progression is very indicative of Tame Impala’s psychedelic rock/pop aesthetic, characterized by frequent use of seventh chords for extra color, modal adventurousness and chromatic mediants, as well as a harmonic rhythm that complements the overall trippy, hypnotic vibe of their music.

Chords in the Verse section of Alter Ego by Tame Impala are:

[‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Cmaj7’, ‘Bsus4’, ‘Bm7’, ‘Dm’, ‘Gm’]