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.

“Yesterday” by The Beatles showcases the innovative use of chord progressions that the group is known for. This song, unlike their other songs, includes borrowed chords and numerous secondary dominant chords. It also uses their favored approach of mixing chords from parallel major and minor scales, hence creating a ‘blended’ modal effect.

Moreover, it uses a mixolydian ♭7 in the main chord sequence, which is quite a popular trick among songwriters for shifting the tonic of a song.

“Weezer’s “Island in the Sun” features a memorable and catchy chord progression, with a mix of major and minor chords that creates an overall uplifting and pleasant atmosphere. The song is in the key of G Major and employs a simple and repetitive progression, characteristic of pop and rock music. Although the chord progression is fairly common, the rhythmic pattern and melodic line make the song stand out among other pop and rock tunes.

“Guilty as Sin?” by Taylor Swift uses a chord progression in the verse that reflects a more nuanced and reflective approach, suitable for a song with a contemplative or emotive theme. The interplay between minor and major seventh chords creates a lush, complex sound that elevates the song’s introspective and somewhat moody lyrical content.

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’]