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The progression in the song “The Less I Know The Better” by Tame Impala shows a combination of borrowed chords and modal mixture, with most of the chords belonging to the key of E Major. The verse chords including G# minor, C# minor, B, and E, establish a strong use of modal interchange, borrowed from the parallel minor of E.
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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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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”.
“Little Sister” by Queens of the Stone Age is in C# minor and features an interesting blend of simple cycle of power chords, articulating a I – V/v – III – V progression during verses. The track is heavy but also melodic, built from a four-chord pattern that creates a mesmerizing tonality within the rock genre.
“Hoppipolla” by Sigur Rós is a dreamy and atmospheric piece that showcases the band’s unique style. The chord progression in the verse consists of D#m, E, D#m, and E chords, which creates a simple and elegant harmonic structure. The use of open strings and melodically moving chords in this progression reflects the ethereal nature of this piece. This progression can be found in both rock and alternative music genres, as it uses the powerful major and minor chords found throughout these styles. The repetitive nature of the chord progression mirrors the band’s tendency to use slow-building and evolving textures in their compositions.
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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