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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.

Let It Happen’ by Tame Impala employs an accessible and effective chord progression, usual in pop/rock music, yet has unusualness due to the usage of the G#sus4 chord, providing a unique tonal flavor and emotional quality. There is a striking use of harmonic contrast and a continuous return and release of tension throughout the song. This creates an immersive cyclical quality, complementing the song’s theme of embracing inevitable moments and experiences.

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The given chord progression is from the verse of Beck’s song “Morning.” The progression is in the key of E Major and follows a cyclical pattern throughout the verse.

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The chord progression in Beck’s “Nobody’s Fault But My Own” from Verse 1 features a mix of diatonic and borrowed chords, primarily from the D Major scale but also incorporating chords from the parallel minor and other related keys. This gives the progression a unique and fresh sound that sets it apart from more traditional progressions. Notably, there are several pedal points using the D root throughout the progression, which helps maintain a sense of tonal center.

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“Good Vibrations” by The Beach Boys employs a series of chord progressions that echo the rising tension and resolution in the song’s narrative. The song is primarily in the key of D minor, with moments of temporary modulation, which allows for colorful and unexpected harmonies to emerge. This harmonic and melodic complexity is one of the defining characteristics of Brian Wilson’s writing style, highlighting his ability to push the boundaries of pop music.

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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’]