This mid-section of “Kashmir” by Led Zeppelin features a mixolydian/modal feel, which is mostly characterized by the use of the bVII chord (D major). The chord progression primarily revolves around a simple G and A alternation, which manifests an ♭II chord (A Major) borrowed from the Phrygian mode. Following this alternation, the chord progression ascends through a series of major chords before resolving back to A Major.
The outro of “Kashmir” by Led Zeppelin features a simple alternating chord progression between G major and A major, which creates tension by avoiding a resolution to the tonic or dominant chords. This makes the progression sound unstable, yet well defined as it repeats. The recurring ascending motion creates a sense of lift throughout the outro, while the lack of a true resolution maintains a feeling of unease. This progression is notable for its simplicity, as well as how it invokes a modal sound that is characteristic of the mixolydian mode often used in rock music.
“Since I’ve Been Loving You” by Led Zeppelin is a slow-tempo blues-rock song featuring a sophisticated and expressive chord progression that falls predominantly within the C minor key, standing out from the more traditional blues structures. The chords in the verse display a creative use of borrowed chords and chromaticism, contributing to the song’s moody and emotionally-evocative atmosphere. The progression is less common in rock music, which is what makes it characteristic of Led Zeppelin’s innovative musical explorations.
This mid-section of “Kashmir” by Led Zeppelin features a mixolydian/modal feel, which is mostly characterized by the use of the bVII chord (D major). The chord progression primarily revolves around a simple G and A alternation, which manifests an ♭II chord (A Major) borrowed from the Phrygian mode. Following this alternation, the chord progression ascends through a series of major chords before resolving back to A Major.
This mid-section of “Kashmir” by Led Zeppelin features a mixolydian/modal feel, which is mostly characterized by the use of the bVII chord (D major). The chord progression primarily revolves around a simple G and A alternation, which manifests an ♭II chord (A Major) borrowed from the Phrygian mode. Following this alternation, the chord progression ascends through a series of major chords before resolving back to A Major.
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