This chord progression from the verse of Tame Impala’s “Alter Ego” suggests a key of C major due to the recurring instances of Cmaj7. However, the presence of certain chords like Bm7 and Dm suggests that Kevin Parker is creatively “borrowing” chords from the parallel and associated keys (C minor, D minor) to create colorful departures from the primary tonality. The use of extended chords (7ths) and suspended chords (Bsus4) adds a sense of complexity and sophistication to the harmony. As can be seen, the chord progression mostly oscillates between Cmaj7, Bsus4, Bm7 before moving to Dm and Gm towards the end of the verse.
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Feels Like We Only Go Backwards by Tame Impala uses very interesting chord progressions that convey a feeling of constant motion. The song is primarily in the key of F Major, as revealed by the majority of the chords (F, C, Gm). However, the chord progression in the verse introduces Dm and Cmaj7/G, showing some clever use of modal interchange, also known as borrowed chords.
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Let It Happen’ by Tame Impala employs an accessible and effective chord progression, usual in pop/rock music, yet has unusualness due to the usage of the G#sus4 chord, providing a unique tonal flavor and emotional quality. There is a striking use of harmonic contrast and a continuous return and release of tension throughout the song. This creates an immersive cyclical quality, complementing the song’s theme of embracing inevitable moments and experiences.
The progression starts on the suspended II chord of the key, which anticipates resolution either to the tonic (E major) or the supertonic (F# minor). However, it instead moves to the dominant minor (C# minor), suggesting a borrowed chord from the parallel minor (E minor). The D major chord which concludes the progression is a borrowed II from E minor as well.
“After You’ve Gone” is a jazz standard composed by Django Reinhardt. The verse progression of the song uses a combination of major, minor and dominant chords with some borrowed chords and secondary dominants, which is a hallmark of early jazz and swing music. The harmonic rhythm is mainly at a pace of one or two chords per bar, with occasional faster changes. The piece has a strong sense of tonal center around the key of G major.
This chord progression from the verse of Tame Impala’s “Alter Ego” suggests a key of C major due to the recurring instances of Cmaj7. However, the presence of certain chords like Bm7 and Dm suggests that Kevin Parker is creatively “borrowing” chords from the parallel and associated keys (C minor, D minor) to create colorful departures from the primary tonality. The use of extended chords (7ths) and suspended chords (Bsus4) adds a sense of complexity and sophistication to the harmony. As can be seen, the chord progression mostly oscillates between Cmaj7, Bsus4, Bm7 before moving to Dm and Gm towards the end of the verse.
This chord progression is in the key of Am. The work can be seen as a mix of the Western tonal harmony, incorporating the use of inversions alongside nondiatonic chords. Tame Impala employs the elements of neo-psychedelia with unique chord progressions and arrangements. The alteration between two chords creates a revolving feeling, reinforcing the title “alter ego”.
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