The chorus of Muse’s “Hysteria” displays a mix of chords from the key of C Major and borrowed chords from the parallel minor key (C minor). The chord progression uses a combination of functional harmony mixed with chromatic elements, embodying characteristics of both rock and classical genres.
“Feeling Good” by Muse is a cover of the original song written by English composers Leslie Bricusse and Anthony Newley in 1964. The Muse version was released in 2001 and is featured on their second studio album, “Origin of Symmetry.” The song is heavily influenced by the genres of jazz, soul, and R&B, while the Muse rendition adds a more modern rock sound to the mix.
The chord progression in Muse’s “Endlessly” from Verse 2 is a mix of diatonic chords and a borrowed chord from the parallel major key. The progression has a melancholic feel, utilizing suspended chords to create tension and release. The use of both minor and major chords provides a balanced sound, giving the piece its unique character.
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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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“Girl” is a song by The Beatles from their 1965 album “Rubber Soul”. The song is written in the key of E minor and it showcases the band’s ability to incorporate non-diatsubject resorting to non-diatonic progressions and utilizes various seventh chords to establish a more sophisticated and jazzy soundid progression. It’s important to note their use of the Dorian mode, which adds to the melodic and harmonic sophistication of the song. Moreover, the song exhibits the lyrical and songwriting depth of The Beatles.
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The chord progression in the verse of “Apocalypse Please” by Muse is mostly based on the F#m and C# chords, with a strong emphasis on the i and V7 relationship. The progression moves back and forth between these two chords without straying far from the Tonality of F# minor while maintaining a tension and release structure.
The chord progression in the chorus of Muse’s “Apocalypse Please” consists of a mix of diatonic chords and borrowed chords from the parallel major and minor keys. The progression features strong harmonic movement with a pivot modulation. Muse is known for their dramatic, often symphonic rock sound, and this progression is no exception in showing off their signature style. The progression also shares some similarities with other artists’ works in both structure and harmonic content.
The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.
The chord progression of the given segment from Muse’s “Apocalypse Please” reflects the band’s signature blend of rock, electronic, and classical music. The progression is in the key of F# minor and features some chromaticism and modal mixture, which is quite common in their style of music. The harmonic rhythm is mostly consistent, and the chords utilized provide a strong sense of direction and resolution throughout the verse.
The outro of Muse’s “Apocalypse Please” features a mix of power chords and triadic chords, with predominant iim7 and IV triads along with some embellishing chords. The piece has a rock-based style, with the emphasis on power chords, a driving rhythm, and intense dynamics. The chord progression borrows elements from different genres, such as pop and classical, with some interesting chromatic movement.
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