Music Theory Alchemy

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Related Music Theory Alchemy

The song “Let It Happen” by Tame Impala, which is in the key of A Major, uses a simple yet effective chord progression during its outro. The common pattern of I-vi-IIIIV (Major-minor-Suspended 4) recurs throughout. The G#sus4 chord provides a moment of tension before resolving back to the tonic and restarting the pattern. The progression concludes with an Emaj7 chord, which is a borrowed chord from the parallel minor.

“Feels Like We Only Go Backwards” by Tame Impala is a psychedelic pop song notable for its dreamy, lo-fi sound and use of unconventional chord progressions. Musically, the song is written in the key of F major, but creatively uses chromatic mediants, borrowed chords, and modal interchange to establish a unique harmony. The song also uses dynamic contrast to create a dreamlike atmosphere, increasing the song’s overall psychedelic effect.

“Closer” by Nine Inch Nails works within a minimalist musical framework, where a few shiftless chords and tension-filled pentatonic melodies define the song. It inculcates a dark atmospheric mood through its instrumentation and harmony. The repetitive and consistent use of the Cm7 chord creates a haunting, pulsating groove that add to the atmospheric layer of the song.

The verse of “All I Need” by Radiohead features a simple chord progression consisting of three main chords: C, Em, and G. It alternates between these three chords for most of the progression, with some occasional repetition of the C chord. This progression provides a consistent harmonic foundation for the vocal melody and sets a mostly stable and melancholic mood.

The song “3s and 7s” by Queens of the Stone Age is in the key of A# minor. The chord progression predominantly features three chords: A#m, G#, and F. The progression utilizes elements of rock and metal music, characteristic of the band’s style. The composition has a darker feel brought by the use of minor chords and dropped tuning, which is frequently employed in harder styles of rock music.

Tame Impala – Let It Happen – Verse 1

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Chord Progression

[‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’]

Chord Progression Analysis

In Verse 1 we can see a three-chord progression that repeats. The progression in Roman numerals would look like: I – vi – bVII, assigning roman numerals according to the A Major scale. Even though G# does not naturally come in the A major or A minor scale, here it’s being used as a borrowed chord. It’s not notated as such because it is not a “typical” borrowing from the parallel minor.

Full Chord name (‘Roman Numeral)
“`
A Major (‘I’)
F# Minor (‘vi’)
G# Suspended 4 (‘bVII’) (borrowed)
“`

Similar Chord Progressions

Memoirs by Röyksopp has a similar progression. It employs bVII – I in its repetition, like Tame Impala’s Let it Happen:

A major (‘I’, Tonic)
G Major (‘bVII’, Subtonic – borrowed chord)

The Birds Pt. 1 by The Weeknd also uses a modal borrowing technique in the chord progression:

F# Major (‘I’, Tonic)
E Major (‘bVII’, Subtonic – borrowed chord).

Though these songs might not sound identical due to differences in arrangement, tempo, and instrumentation, the underlying chord progressions share a similar structure to “Let It Happen”.

Musical Analysis

The constant modulation through the use of a ‘borrowed’ chord – G#sus4 – provides an ambiguous, floating quality to the music. This gives an otherworldly sense to the track, propelling the listener into a psychedelic, trance-like state.

Overall Analysis

Tame Impala’s “Let It Happen” is a song in A major key. The chord progression seems simple at first, with a repetitive motive throughout the verse but it creates a hypnotic effect that is very much in line with Tame Impala’s psychedelic style.

Style Analysis

This hypnotic style fits well within Tame Impala’s psychedelic music idiosyncrasy. Use of the suspended 4 chords further adds to the ambiguity and continuous flow of the song, which circles back again and again to A Major.

Chords in the Verse 1 section of Let It Happen by Tame Impala are:

[‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’]