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”.

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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.

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“Jolene” by Dolly Parton is a classic country song written in A minor. Its chord progression is an iconic reflection of the country and folk genres, and is a study of simplicity and effective songwriting.

The chord progression of “Jolene” uses primarily diatonic chords but also includes a borrowed chord which introduces a touch of complexity to the harmonic structure of the song.

The chord progression from Muse’s “Hate This And I’ll Love You” displays a mix of diatonic and borrowed chords from the parallel minor. The progression is in the key of A major and shows an unconventional use of chords that gives the song its unique sound. It also showcases certain characteristics of Muse’s music style that includes complex chord progressions and frequent changes between major and minor harmonies.

Chord Progression Analysis and Roman Numerals:

A ('I'), Gm ('bVII'), D/F# ('IV/V'), A ('I'),
Gm ('bVII'), D ('IV'), A ('I'), Gm ('bVII'),
D/F# ('IV/V'), A ('I'), Gm ('bVII'), D/F# ('IV/V')

The borrowed chord in this progression is Gm, taken from the parallel minor, A minor:
`Gm (‘bVII’)`

“Dazed and Confused” by Led Zeppelin is a rock song that features a mix of blues and psychedelic elements. The chord progression in the verse is quite unconventional and may invoke a feeling of unease, which matches the song’s mysterious and somewhat disorienting theme.

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

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“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’)”
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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’]