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Related Music Theory Alchemy

The chord progression in the verse of Tyler, The Creator’s “Earfquake” is primarily based on a simple alternation between two chords, Bbmaj7 and Am7, with a brief excursion to Gm7 before returning to Am7. The simplicity and repetition of the progression creates a feeling of comfort and stability, while the use of major 7th and minor 7th chords adds a touch of sophistication and smoothness. The progression doesn’t follow a traditional functional harmony, but it effectively supports the melody and the overall vibe of the song.

The chord progression in the chorus of Tyler, The Creator’s “See You Again” exhibits a combination of diatonic and chromatic movements, with the use of borrowed chords and altered dominants that create tension and release. The song is in the key of F# major.

This particular section is mostly based in the key of F major and highlights Freddie Mercury’s love for moving from the classical I-ii-V progression to the jazz-inspired I-IV-ii-V, often followed by a jazzy II-V-I. In this part of the song, you will find some interesting use of borrowed chords and leading tones, contributing to the chromaticism that enriches the progression.

The chord progression in the bridge of “Gone, Gone” by Tyler, The Creator can be described as a combination of diatonic and borrowed chords from the parallel minor key. The key of the song is F major, and the progression combines elements of pop, R&B, and jazz, creating a distinctive harmonic sound.

“Creep” by Radiohead is a well-known song that features a fairly simple chord progression in its bridge. The progression is memorable for its fusion of diatonic and chromatic elements, creating a sense of tension and interest.

Tyler, The Creator – Earfquake – Bridge

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Chord Progression

Bbmaj7, Am7, Gm7, Asus2, B7, Bbmaj7, Am7, B7, Bbmaj7, Gm7

Chord Progression Analysis

Bb Major 7 (IΔ7) – A minor 7 (vii7) – G minor 7 (vi7) – A sus2 (VII) – B7 (♯II7) – Bb Major 7 (IΔ7) – A minor 7 (vii7) – B7 (♯II7) – Bb Major 7 (IΔ7) – G minor 7 (vi7)

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Borrowed Chords: B7 (♯II7)
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Similar Chord Progressions

1. Stevie Wonder – “Overjoyed”
Chord Progression:
C Major 7 (IΔ7) – B minor 7 (vii7) – A minor 7 (vi7) – G Major 7 (VMaj7) – Ab7 (♭VI7) – F Major 7 (IVΔ7) – G sus2 (V) – A minor 7 (vi7)

2. Andy Shauf – “The Worst in You”
Chord Progression:
F Major 7 (IΔ7) – E minor 7 (vii7) – D minor 7 (iv7) – E sus2 (V) – Db7 (♭IV7) – F Major 7 (IΔ7) – E minor 7 (vii7) – Db7 (♭IV7) – Eb Major 7 (♭VΔ7)

Musical Analysis

The ‘Earfquake’ bridge starts with the tonic Bb Major 7 chords, then moves to A minor 7 chord as a borrowed chord from Bb Aeolian (natural minor) mode to create a smooth transition from the tonic towards the submediant (G minor 7) chord. Then, the bridge proceeds to the A sus2 chord which acts as a brief and gentle resolution, creating a relaxed and open feel in the progression.

The B7 chord, a borrowed chord in this context, adds tension and chromatic interest in this predominantly diatonic chord progression while providing an unexpected shift away from the Bb tonic. The B7 chord returns twice more, further reinforcing the sense of unease before resolving back to the tonic Bb Major 7 chord.

Overall Analysis

The chord progression appears to be in the key of Bb Major, and showcases various diatonic chords along with a few borrowed chords. This progression is characterized by a blend of smooth and rich harmony, primarily due to the use of 7th chords and suspensions. The introduction of the dominant B7 chord adds interest, making the progression more unpredictable and complex.

Style Analysis

Tyler, The Creator’s style is known for incorporating Neo-Soul, Jazz, Fusion, and RnB which are evident in this particular chord progression. The use of 7th chords and borrowed chords provide the harmonic richness associated with these genres, while the smooth transitions and unexpected shifts keep the listener engaged and surprised.

Chords in the Bridge section of Earfquake by Tyler, The Creator are:

Bbmaj7, Am7, Gm7, Asus2, B7, Bbmaj7, Am7, B7, Bbmaj7, Gm7