“I Am The Walrus” is a composition by The Beatles that showcases a variety of chord progressions, rhythmic sensibilities, and melodic explorations that are representative of their signature sound. The song’s structure presents a complex and unorthodox harmonic design that is characteristic of The Beatles’ later experimental phase.
The pre-chorus 1 [‘A’, ‘A/G’, ‘Dadd9/F#’, ‘F’, ‘G’, ‘A’, ‘A/G’, ‘F’, ‘B7’] presents a series of descending bass notes provided by the root movement of these chords- from A to G (in ‘A/G’) to F# (in ‘Dadd9/F#’) and then repeated. This technique significantly enhances the melodic content of this progression. From a stylistic perspective, the song’s chord progression is enriched by the functional interplay of diatonic and non-diatonic elements over a changing tonal landscape.
“I Am The Walrus” by The Beatles is a song that stands out because of its unique chord progressions and thematic material. The chord progression of the pre-chorus is particularly captivating and somehow unusual compared to common pop/rock tunes.
“Strawberry Fields Forever” by The Beatles is an iconic psychedelic rock track marked with rich harmonies and sophisticated musical elements. The song is primarily constructed around the key of A, but it employs several modal mixtures and non-diatonic chords, contributing to its intriguing tonality.
“Give Me The Night” is a smooth jazz, R&B, and funk-infused composition by George Benson. The pre-chorus is particularly interesting, as it features a brief but captivating chord progression that navigates through a variety of moods before looping back to the main progression or chorus of the song.
“Time to Pretend” by MGMT is a psychedelic pop/rock song that incorporates elements of electronic and indie rock music. The chord progression in the pre-chorus, which we will specifically analyze, shows MGMT’s experimentation with harmonic structure, drawing influences from both traditional classical and popular music techniques.
“I Am The Walrus” is a composition by The Beatles that showcases a variety of chord progressions, rhythmic sensibilities, and melodic explorations that are representative of their signature sound. The song’s structure presents a complex and unorthodox harmonic design that is characteristic of The Beatles’ later experimental phase.
The pre-chorus 1 [‘A’, ‘A/G’, ‘Dadd9/F#’, ‘F’, ‘G’, ‘A’, ‘A/G’, ‘F’, ‘B7’] presents a series of descending bass notes provided by the root movement of these chords- from A to G (in ‘A/G’) to F# (in ‘Dadd9/F#’) and then repeated. This technique significantly enhances the melodic content of this progression. From a stylistic perspective, the song’s chord progression is enriched by the functional interplay of diatonic and non-diatonic elements over a changing tonal landscape.
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“Closer” by Nine Inch Nails is a repetitive, hypnotic song that relies on a dark tonality and electronic elements to create its unique sound. This is achieved with the use of only two chords: Cm7 and F. Notably, a distinctive feature of this song is the lack of chordal diversity which aids in creating a minimal, industrial vibe.
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The song “Closer” by Nine Inch Nails is written in C minor key, and the overall structure of the song consists of a verse, pre-chorus, and a chorus. The progression is simple yet effective in creating a dark and moody atmosphere, consistent with the industrial rock genre that characterizes Nine Inch Nails’ music.
Pre-Chorus 1 –
“Time to Pretend” by MGMT is a psychedelic pop/rock song that incorporates elements of electronic and indie rock music. The chord progression in the pre-chorus, which we will specifically analyze, shows MGMT’s experimentation with harmonic structure, drawing influences from both traditional classical and popular music techniques.
“Give Me The Night” is a smooth jazz, R&B, and funk-infused composition by George Benson. The pre-chorus is particularly interesting, as it features a brief but captivating chord progression that navigates through a variety of moods before looping back to the main progression or chorus of the song.
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