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Related Music Theory Alchemy

The song “Dead Flowers” by The Rolling Stones is a classic rock tune that is characterized by its simple yet effective chord progressions. The key of this song is D Major. This song utilizes mostly major chords (D, A, and G), and it has a strong emphasis on the I-IV-V chord progression, a staple in many rock, blues, and pop music.

“Honky Tonk Women” is a classic blues-infused rock and roll track, like many songs by The Rolling Stones. The guitar riffs and solo (though not discussed here) clearly show blues influence in their use of the pentatonic scale and common blues licks.

The chord progression used for verse 2 is a typical example of a classic rock chord progression, with a key center around G, utilizing the dominant chords of the key in a I-IV-I-V-IV-I-IV-I progression.

“The Sound Of Silence” by Simon & Garfunkel is written in the key of Am and follows the Verse-Chorus form common in pop and rock music. The progression consists of a beachfront of common and borrowed chords, showing the use of modal interchange and diatonic chords in creating a memorable and emotive sound.

“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.

The chord progression in Verse 2 of Pink Floyd’s “Welcome to the Machine” is a complex and somewhat unconventional progression. It primarily features chords from the E natural minor scale, with some borrowed chords from the parallel E major scale. The progression creates an atmospheric and moody soundscape that is characteristic of Pink Floyd’s music, especially in their album “Wish You Were Here.” It also displays a certain level of sophistication in the harmony which underscores Pink Floyd’s musical depth.

The Rolling Stones – Dead Flowers – Verse 2

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Chord Progression

[‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’]

Chord Progression Analysis

“`
D Major (‘I’), A Major (‘V’), G Major (‘IV’), D Major (‘I’)
“`
In the context of the key, no borrowed chords are present.

Similar Chord Progressions

A similar chord progression can be found in the following songs:
1. “Sweet Home Alabama” by Lynyrd Skynyrd
– D (‘I’), C (‘bVII’), G (‘IV’), D (‘I’)
2. “Already Gone” by The Eagles
– G (‘I’), D (‘V’), C (‘IV’), G (‘I’)

Both these songs use very similar chord progressions, and their vibes and themes resonate with “Dead Flowers”. They also fall into the rock/country hybrid genre The Rolling Stones ventured into with this song.

Musical Analysis

In terms of music theory, “Dead Flowers” stands out for its simple yet effective chord progression. The pattern of I-V-IV-I creates a solid foundation for the melody. It’s a simple circle of progression that starts and ends on the same chord, creating a cyclical harmonic motion throughout the song. This is a hallmark of the Rolling Stones’ songwriting style: basic harmonic structures embellished by distinctive melodic and rhythmic elements, mainly driven by the lead guitar riffs and the vocals.

Overall Analysis

“Dead Flowers” by The Rolling Stones, from their album “Sticky Fingers” (1971), features a fairly straightforward repetitive chord progression of D, A, G, D in the verse. The key here is D Major. This common progression falls into a I-V-IV-I pattern known as a “plagal cadence”. It’s a progression which consists of a major key followed by its dominant (V), then its subdominant (IV), taking us back to the tonic (I).

Style Analysis

This chord progression reflects the Stones’ propensity for Americana and country-inspired rock. The simplicity and structure of the chords embody the essence of traditional country music, while their rock sensibility emerges in the song’s instrumentation and production.

Chords in the Verse 2 section of Dead Flowers by The Rolling Stones are:

[‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’, ‘D’, ‘A’, ‘G’, ‘D’]