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Related Music Theory Alchemy

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The progression in the song “The Less I Know The Better” by Tame Impala shows a combination of borrowed chords and modal mixture, with most of the chords belonging to the key of E Major. The verse chords including G# minor, C# minor, B, and E, establish a strong use of modal interchange, borrowed from the parallel minor of E.

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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.

The chord progression in the outro of “Fake Plastic Trees” by Radiohead utilizes some common and some less common harmonic devices. The piece employs diatonic chords with some added extensions, giving a sense of tension and release. Furthermore, the progression is in the key of A major, which contributes to the overall tonality and harmonic structure.

The given chord progression is in the key of C Major and follows a simple, yet effective structure. It features a blend of consonance and dissonance, which creates a sense of resolution and tension simultaneously. This progression is characteristic of Radiohead’s unique sound and their ability to create emotive landscapes through their music.

This chord progression from Radiohead’s “You And Whose Army” is in the key of C# minor, and the chords are predominantly composed of diatonic chords from the C# natural minor scale with some borrowed chords from the parallel major scale. The progression follows a looped pattern, creating a hypnotic and catchy quality which is characteristic of Radiohead’s music.

Tame Impala – The Less I Know The Better – Outro

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Chord Progression

[‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’]

Chord Progression Analysis

The outro is built on a four-chord repeating progression. Here’s the chord progression analysis for the outro with full chord names and their Roman numerals:

* E Major (I)
* G# Minor (iii)
* C# Minor (vi)
* A Major (IV)

“`python
# Borrowed chords: None in this specific progression.
“`

Similar Chord Progressions

A similar progression can be found in the song “Apologize” by OneRepublic, though it’s transposed to a different key:

* C Minor (vi)
* Ab Major (IV)
* Eb Major (I)
* Bb Major (V)

Also in “God Is A Dancer” by Tiësto and Mabel:

* D Major (I)
* F# Minor (iii)
* B Minor (vi)
* G Major (IV)

Both songs demonstrate a similar revolving feel in their progressions, as in “The Less I Know The Better”.

Musical Analysis

The chord progression is a standard vi-IV-I-iii progression in E Major, although it’s rotated to start on the I chord. The overall feel is of a loop that keeps turning around, circling back to its beginning.

Overall Analysis

“The Less I Know The Better” by Tame Impala is in the key of E Major. The track has a unique blending of psych pop and synthrock, combining a funky bass line with Tame Impala’s signature synth timbre. Its harmonic structure is moderately complex and features some compelling chord progressions, with a few borrowed chords.

Style Analysis

This progression has a bit of that iconic Tame Impala sound, walking the line between complex chord changes and a simple, catchy loop. It also gives a sense of tonal ambiguity, a common feature in psychedelic music. The chord progression is driven by a syncopated bass line rhythm which is characteristic to Kevin Parker’s style.

Chords in the Outro section of The Less I Know The Better by Tame Impala are:

[‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’, ‘E’, ‘G#m’, ‘C#m’, ‘A’]