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“Let It Happen” by Tame Impala is characterized by its psychedelic and experimental nuances. It features an overall bright and uplifting tone despite its use of some more complex chords. The song ska common in pop music. The chord progression in question has a strong melodic sensibility demonstrating Kevin Parker’s ability to incorporate complex musical ideas into a pop format.

“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 for Verse 3 of “Hey Joe” by Jimi Hendrix is a repeating pattern of C, G, D, A, E. The progression employs one borrowed chord and is loosely structured around the circle of fifths. The song features a blues-rock style, with a heavy emphasis on guitar playing and expressive solos.

“Wonderwall” by Oasis is in the key of G major and features an effective and memorable chord progression that repeats throughout the song. The progression falls into the indie rock and Britpop genres, highlighting simple, strong harmonies, and incorporates a repeated sequence of Em–G-D–A7sus4 throughout its composition with occasional deviations.

“Sorry Seems to Be the Hardest Word” by Elton John employs interesting chord progressions and borrows chords from other modes and keys, contributing to its melancholy, yet dynamically expressive mood. The song is set in E minor and uses basic chord progressions, some more sophisticated ones, and many borrowed chords.

Tame Impala – Let It Happen – Verse 3

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

Chord Progression Analysis

Here is the chord progression analysis for Verse 3:
“`
A (I)
F#m (vi)
G#sus4 (VII sus4)
“`

The song key is in A Major. Notably, the G#sus4 chord is a borrowed chord from A harmonic minor scale.

Similar Chord Progressions

Similar chord progressions are found in the songs ‘Strawberry Fields Forever’ by The Beatles, using a I – vi – iv progression, and ‘Wonderwall’ by Oasis, using a I – vi – IV – I – ii – IV progression. They present similarities since they use the primary and secondary triads in popular music structure. Nonetheless, it’s important to note the uniqueness of Tame Impala’s progression due to the substitute borrowed chord.

Musical Analysis

Tame Impala plays extensively with musical texture, underpinned by a constant percussive drive that provides momentum. The repetitive sequence of this chord progression underlines a cyclical motif, reflective of the song’s philosophical content. The use of the G#sus4 chord adds an unexpected tension and resolve into the familiar A and F#m chords, which carry the song’s melodic line.

Overall Analysis

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.

Style Analysis

This progression is emblematic of Tame Impala’s style, who often blend accessible pop/rock structures with more complex, unexpected elements. The result is a sound that is instantly recognizable but never predictable. The production is heavily layered and psychedelic-inspired, with a significant use of electronic effects and a broad dynamic range.

Chords in the Verse 3 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’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’, ‘A’, ‘F#m’, ‘G#sus4’]