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Related Music Theory Alchemy

The given chord progression for the interlude of “Gone Gone” by Tyler, The Creator appears to deviate from common patterns found in popular music. The progression consists of eight unique chords, which could create an interesting and complex sound.

The chord progression in Tyler, The Creator’s “See You Again” can be characterized as a mixture of jazz harmonies and pop sensibilities. The verse progression features major and minor seventh chords, a few borrowed chords, and a prominent chromatic movement.

Chord progression analysis (including borrowed chords)
1. F#maj7 (I)
2. F#maj7/B (I6)
3. Fmaj7 (bImaj7 – borrowed chord)
4. G#m7 (iii7)
5. D7#5 (VI7#5 – borrowed chord)
6. F#maj7 (I)
7. F#maj7/B (I6)
8. Fmaj7 (bImaj7 – borrowed chord)
9. G#m7 (iii7)
10. D7#5 (VI7#5 – borrowed chord)

The chord progression starts with the tonic F#maj7 and moves through a first inversion of the same chord (F#maj7/B) before introducing borrowed chords (Fmaj7 and D7#5) from the parallel minor key, creating tension and color. The G#m7 is a diatonic iii7 chord, adding to the jazzy feel of the song.

The chord progression in the chorus of “Sexx Laws” by Beck is a non-diatonic chord progression that features chromatic and unexpected chords. The progression seems to be based in the key of E major, but the chords used are not strictly within the E major scale, providing a distinctive sound and style characteristic of Beck’s music. The progression contains some parallel major chords, giving it a distinct classic rock vibe.

“Can You Feel The Love Tonight” is a pop ballad written in the key of G major. The progression makes traditional use of the G major chord scale with a notable exception of a borrowed chord A/C#.

“Get You” by Daniel Caesar is a soulful R&B ballad featuring a smooth and emotive chord progression that is both melancholic and uplifting. The progression is derived from the key of D major, but features a borrowed chord from its parallel minor key, D minor, which adds a unique flair to the song. Daniel Caesar’s vocal performance, accompanied by soulful instrumentation, creates a sense of nostalgia and emotional evocation that is characteristic of the R&B genre.

Tyler, The Creator – Gone Gone – Chorus

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Chord Progression

Bb, Dm, Gm, F#m7, Eb, Dm, Eb, Dm, Eb, Dm, Eb, Dm, Bb, Dm, Gm, F#m7, Eb, Dm, Eb, Dm, Eb, Dm, Eb, Dm

Chord Progression Analysis

“`
– Bb Major (I)
– D minor (iii)
– G minor (vi)
– F#m7 (bvi7)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
– Bb Major (I)
– D minor (iii)
– G minor (vi)
– F#m7 (bvi7)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
– Eb Major (IV)
– D minor (iii)
“`

“`F#m7` is a borrowed chord.“`

Similar Chord Progressions

1. Stevie Wonder – “Isn’t She Lovely”
“`
– Db Major (I)
– Ab minor (v)
– Gb Major (IV)
– F minor (iii)
– Bb minor (vi)
– Eb minor (ii)
– Ab7 (V7)
“`

2. D’Angelo – “Untitled (How Does It Feel)”
“`
– C Major (I)
– A minor (vi)
– D minor (ii)
– G Major (V)
– F Major (IV)
– F minor (iv)
“`

These progressions are similar in that they also feature a blend of diatonic and non-diatonic chords, and they incorporate elements of jazz and R&B styles. While not identical, they share some harmonic concepts and stylistic elements with the chord progression in “Gone Gone.”

Musical Analysis

The progression begins with a standard I-iii-vi sequence, setting the tonality and establishing the Bb major key. The F#m7 chord is a borrowed chord from the parallel minor key (Bb minor) and creates harmonic interest and tension. The following sequences of Eb Major and D minor chords further develop the progression, with the alternation between these chords adding a sense of heightened energy. The Eb Major is a subdominant IV chord which is then followed by the D minor iii chord. This pattern repeats several times before returning to the initial I-iii-vi sequence. The F#m7 chord, being a borrowed chord, creates emotional depth and contrasting colors in the harmony.

Overall Analysis

The chord progression in Tyler, The Creator’s “Gone Gone” is a mix of diatonic and non-diatonic chords, making it an interesting and unique progression. It features a combination of major, minor, and an altered seventh chord, adding to the overall complexity of the progression. The style is reminiscent of jazz and R&B, where more complex harmonic structures are often used. Some borrowings from different modes and chromaticism also contribute to its richness and distinct sound.

Style Analysis

The style of this chord progression is influenced by jazz and R&B, which are known for incorporating complex harmonic structures and non-diatonic chords. Tyler, The Creator often experiments with different musical styles, and “Gone Gone” showcases his diverse influences and unique approach to songwriting. The progression’s complexity and richness are characteristic of Tyler’s innovative and distinctive sound.

Chords in the Chorus section of Gone Gone by Tyler, The Creator are:

Bb, Dm, Gm, F#m7, Eb, Dm, Eb, Dm, Eb, Dm, Eb, Dm, Bb, Dm, Gm, F#m7, Eb, Dm, Eb, Dm, Eb, Dm, Eb, Dm